


Bay City Forever

by HeartinBayCity (ChelleBee53)



Category: Another World (TV)
Language: English
Status: In-Progress
Published: 2020-06-18
Updated: 2021-02-18
Packaged: 2021-03-03 18:47:28
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 75
Words: 81,455
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/24790300
Author URL: https://archiveofourown.org/users/ChelleBee53/pseuds/HeartinBayCity
Summary: An on-going continuation of Another World, which I started in November, 2001 [soon after I FINALLY got my first computer] on the now long-gone AOL Hometown as "Bay City Today".The fic was intended to take place in real time, but circumstances beyond my control slowed me down.  In an attempt to keep up with the calendar, I skipped days, sometimes weeks, in the storyline.  Eventually, I changed the title, and moved the story ahead so that it now begins in 2002.I lost access to this work for several years due to computer issues, but now I've rediscovered it, and am reposting it here, with some edits.Part of this fic was inspired by events I believe would have taken place on Another World if the showhad remained on the air.Length of episodes will vary.Characters not invented by me are the sole property of Procter and Gamble Productions.Occasional mild expletives.A scene was added to Episode 71.





	1. Episode 1

EPISODE 1

(The word PROLOGUE appears on-screen.)

FEMALE VOICE-OVER: Welcome to BAY CITY FOREVER. Our story begins on November 29th, 2002. Since June 25th, 1999, which was the last time we saw the citizens of Bay City, there have been several changes in their lives, including, sadly, the deaths of Vicky and Jake. Felicia had her latest novel, COUNT ON LOVE, published by the now-renamed CORY-HUTCHINS PUBLISHING COMPANY. She and Sergei are still married. Gary and Cameron are partners. As our story begins, they are out of town, working on a case. They expect to be gone for three or four weeks. Josie was promoted to Detective First Class, and it was hard to tell who was more proud of her, Gary, or Joe. Joe and Paulina have another son, Ryan Gabriel Carlino, who is almost two-and-a-half years old. Dante, now in first grade, adores his little brother. Nick and Remy are engaged, and have been for more than a year now. They were supposed to be married on May 4th, but postponed the wedding due to Jake's death. Grant returned to Bay City, and, somehow (remember, this is Grant !)resumed the office of mayor. Right now, however, he is behind bars, convicted of arson, but not for the Carlino fire. And now, Episode One of BAY CITY FOREVER.

SCENE ONE

(The scene is Sergei and Felicia's house. Felicia is looking through the mail.)

FELICIA: (thinking) From Adele du Lac. (Opens envelope, removes letter, reads under her breath.) "Dear Ms. Gallant: This is to inform you that I am bringing suit against you for plagiarism," (stops reading) What in the world? I'll have to show this to Cass. (Puts letter in her purse, puts on hat and coat, goes out.)  
FADE OUT

SCENE TWO

(The scene shifts to the 2-3. Joe, who has come across something disturbing, walks into the squad room and approaches Josie's desk.)

JOE: Josie, come into my office.

JOSIE: Yes, sir. (She and Joe go into his office. Joe locks the door and closes the blinds.) What's up?

JOE: I've just come across something very disturbing.

JOSIE: What?

JOE: Remember the fire Grant was convicted of setting? There was evidence that put him right at the scene. Well, there was something that always bothered me about that evidence.

JOSIE: What?

JOE: It was almost too easy to find. Well, just today I found out that somehow the surveillance camera wasn't damaged in the fire, so I figured I should look at the tape.

JOSIE: (hesitantly) You already watched the tape?

JOE: (sternly) Yes, I did, and it shows somebody planting that evidence after the fire. (sighs) Why, Josie? Why did you frame Grant for a crime he didn't commit?

JOSIE: I thought it was poetic justice. Don't forget, he got away with burning your house to the ground.

JOE: Do you think I could ever forget that?

JOSIE: So what was so wrong about my fixing things so he got convicted this time?

JOE: (even more sternly) Well, Josie, besides letting a man go to prison for a crime didn't commit

JOSIE: But this is Grant!

JOE: That doesn't make any difference. You not only framed someone for a crime he didn't commit this time, but you also let the real arsonist walk.

JOSIE: (small voice) I never thought about it that way.

JOE: Obviously not! All right. I'm going to the D.A. to get Grant released, and then I have to talk to Internal Affairs.

JOSIE: (hesitantly) Can you keep my name out of it?

JOE: Not this time, Josie. If I did, it would bring this whole department under suspicion, and you wouldn't want that, would you?

JOSIE: No, sir.

JOE: Look, I'll try to get I.A. to let me deal with you. Now, I want you to stay right here until I get back, and, Josie, I want you to do some serious thinking.

JOSIE: Yes, sir. (Joe walks out.)  
FADE OUT

SCENE THREE

(The scene shifts to Cass Winthrop's law office. Cass and Felicia are inside.)

FELICIA: So what do I do about this?

CASS: You may not have to do anything. She claims that you plagiarised the plot for COUNT ON LOVE from her online writing journal. Well, the burden of proof is on her to produce that journal, and prove that it was online before you wrote your novel. Otherwise, she will never prevail against you in court.

FELICIA: But it could become very public.

CASS: It probably will, but it would be very hard, almost impossible, for her to prove her allegations.

FELICIA: But I want to prove that I didn't steal from her. You know I don't have to steal anybody's ideas.

CASS: Well, if push comes to shove, we'll counter-sue for defamation of character.  
FADE OUT

SCENE FOUR

(The scene shifts to Joe's office. Josie is there, alone.)

JOSIE: (thinking) I should have known Joe would find out what I did.

(Joe walks in. Josie looks up.)

JOE: Josie, get your coat and come with me.

JOSIE: Where are we going?

JOE: To release Grant, and then you are going to apologize to him.

JOSIE:Apologize to Grant after everything he did?

JOE: No, apologize to him for what you did.

JOSIE: Did you (hesitates) did you talk to I.A.?

JOE: Yes, and they are letting me deal with you.

JOSIE: I really don't want to apologize to Grant.

JOE: I know you don't, but you have to. Now, go get your coat, and let's go.

JOSIE: I just can't apologize to Grant.

JOE: Josie, right now is not a good time to disobey orders. The only reason I.A. agreed to let me deal with you is that I convinced them that you would do whatever I told you to.

JOSIE: (reluctantly) All right. I'll apologize to Grant.  
FADE OUT

SCENE FIVE

A HALF-HOUR LATER  
(The scene shifts to the county prison. Joe and Josie are with Grant, who has just been released.)

GRANT: Well, Captain Carlino, I am ready to accept your immediate resignation.

JOSIE: You can't fire Joe! I was the one who (she gulps) I was the one who framed you. Joe went to the D.A. to clear you as soon as he learned the truth. If anyone should resign from the force, it's me.

JOE: Nobody is resigning from the force. Now, Josie, you have something to say to Grant, don't you?

JOSIE: (looks down, mumbles) I'm sorry.

GRANT: You will look directly at me, and speak up, and you will address me as "Your Honor". (Joe looks annoyed.)

JOSIE: (looks at Grant, speaks clearly) I apologize for what I did, Your Honor.

GRANT: Well, I can be magnanimous. You may keep your jobs. However, Captain Carlino, I hope you won't let Detective Sinclair off without appropriate punishment.

JOE: I will deal with Josie, but her punishment will not be any more severe just because you happen to be the mayor.

GRANT: Well, it most certainly should be!

JOE: And it also won't be any less severe because of my personal dislike for you.  
FADE OUT

SCENE SIX

FORTY MINUTES LATER  
(The scene shifts to Joe's office Joe and Josie are inside, with the door locked and the blinds closed.)

JOE: Now, Josie, do you understand why what you did was so wrong?

JOSIE: I know it was wrong to let the real arsonist walk, but I still think that what I did to Grant was poetic justice.

JOE: Poetic justice is for stories, not for real life. Now, Josie, think about this. When you framed Grant, who were you acting like?

JOSIE:(small voice) Grant.

JOE: And he's the last person you want to behave like, right, Josie?

JOSIE: Yes, sir.

JOE: And you understand that I have to punish you, because a good cop like you should not have done what you did.

JOSIE: (surprised) You still think I'm a good cop?

JOE: Yes, most of the time. Now, Josie, I am suspending you from the force without pay, and placing you under house arrest.

JOSIE: For how long?

JOE: I think two weeks is enough. You will serve your time in the guest room of my house.

JOSIE: I don't mind staying at your place, with Gary out of town, but must I stay in the bedroom the whole time?

JOE: Except for meals, and a half hour on the porch every day, unless it gets too cold, yes.

JOSIE: In other words, I'm grounded?

JOE: You could say that. Anyway, what is house arrest, if it isn't grounding for adults? Now, I'll need your shield and your weapon. (Josie hands them over and starts blinking back tears.) Look, it's only for two weeks. I.A. wanted to demote you way down.

JOSIE: Like they did to Gary.

JOE: Exactly. I finally managed to talk them out of it.

JOSIE: (small voice, sniffling) Thank you.

JOE: I want you to understand that I'm disciplining you for your own good.

JOSIE: You always say that.

JOE: Because it's always true. Now, let's go to my house, so you can begin serving your sentence.  
FADE OUT

SCENE SEVEN

THAT NIGHT  
(The scene shifts to Joe and Paulina's bedroom. Joe and Paulina are in bed, talking.)

PAULINA:(whispering) It will be nice having a guest for two weeks.

JOE:(low voice) Blue Eyes, Josie is not here as a guest. She's being punished, remember?

PAULINA: I know, but is that the only reason you are having her stay with us?

JOE: What do you mean?

PAULINA: Well, you suspended her without pay. Is having her stay here your way of supplying her meals for the next two weeks?

JOE: Maybe that's part of it.

PAULINA: I don't think there's any "maybe" about it. (Crying sounds are heard from the spare bedroom.) Should I go see what's wrong?

JOE: No, I'll go to her. I'm her captain, and I am the one who is punishing her.

(Goes to spare-room door, knocks.)

JOSIE: (from inside, voice trembling) Come in.

JOE: (opening door) What's wrong, Josie?

JOSIE: (sitting up in bed) Oh, Joe, I- I- I'm sorry. If you had been been fired, and the whole department disgraced, it would have been all my fault. I don't deserve to be a cop.

JOE: Yes, you do, but I'm glad you realize that what you did was wrong. Now don't cry any more. (Josie takes a few deep breaths, and brushes the tears off her face.) That's better. Now, I want you to lie down and go to sleep.

JOSIE: (hesitantly; a bit embarrassed) You won't think I'm babyish if...

JOE: (understandingly) You want me to stay with you until you go to sleep?

JOSIE: Would you? Please?

JOE: Of course I will. (Pulls chair next to bed, sits down, strokes Josie's hair. Josie drifts off to sleep. Joe kisses her very gently, and quietly leaves spare room, walks back to his and Paulina's bedroom.)

PAULINA: How's Josie?

JOE: (getting into bed) Fast asleep.

PAULINA: Tell me something. How do you really feel about what Josie did?

JOE: Part of me wishes I hadn't learned the truth.  
FADE OUT

SCENE EIGHT: CLOSING SCENE

(The scene shifts to the bus depot. A bus pulls in and comes to a stop. Tito comes down the steps. No dialogue)  
FREEZE FRAME


	2. Episode 2

This episode takes place on December 6th, 2002, one week after the previous episode.

SCENE ONE

(The scene is Cass Winthrop's law office. Cass and Felicia are inside, talking.)

FELICIA: I just don't understand this Adele du Lac. We responded to her letter immediately...

CASS: (finishing sentence) And we haven't heard a thing from her. Well, the mail can be slow sometimes. Hence the term, "Snail mail."

FELICIA: What I want to know is, if she really does have an online writing journal, why haven't we been able to find it?

CASS: Either she has deleted the journal, or it never existed in the first place. Or...

FELICIA: Or she didn't write it under the name Adele du Lac.

CASS: That's not what I was thinking.

FELICIA: Then what?

CASS: Is it possible that Ms. du Lac put her writings online after reading COUNT ON LOVE, in order to accuse you of plagiarism?

FELICIA: Why would she do that?

CASS: Maybe as a publicity stunt. People do strange things for publicity.

FELICIA: I won't argue with you about that. I remember when Josie was starting out as a model, she pretended that she was being stalked by an obsessed fan.

CASS: I remember that. I also remember how she used you in her little scheme. And now she's a cop.

FELICIA: Yes, but she still seems to have a streak of mischief in her. Look what she did to Grant.

CASS: Personally, I think she should have gotten a medal, but I guess Joe had to punish her.

FELICIA: You have to admire him for that, when you think of how much he despises Grant.  
CASS: And how fond he is of Josie.

(Phone rings; Cass lifts receiver.)  
FADE OUT

SCENE TWO

(The scene shifts to the front porch of the Carlino home. Paulina and Josie are seated on bench, talking.)

JOSIE: I really hate being suspended.

PAULINA: Well, you know, Joe hates having to discipline you, especially since he understands why you did what you did.

JOSIE: He does?

PAULINA: Of course he does. You did it to get even with Grant for what he did to us.

JOSIE: But it was still wrong. Joe helped me to see that. That's why I've tried not to complain about being grounded like an adolescent. I'm just glad he doesn't lock me in.

PAULINA: Of course he doesn't. Joe trusts you to stay in your room without having to be locked in.

JOSIE: It makes me feel a lot better to know that.

PAULINA: (looking at her watch)Well,it's time for you to go back to your room, and then I have to go pick Dante up.

(Josie and Paulina get up and go inside.)

JOSIE: (taking off her coat and hanging it up) Dante really likes first grade, doesn't he?

PAULINA: He loves it. Most of his friends from kindergarten ended up in the same class.

JOSIE: Does he have a best friend?

PAULINA: Yes, a little girl named Bonnie Bennet.

JOSIE: (sighs) Well, I guess I'd better go upstairs.

PAULINA: And I'd better go pick up Dante.

(Paulina goes out; Josie goes upstairs.  
FADE OUT

SCENE THREE

(The scene shifts to the living room of the Cory-Hutchins mansion. Carl and Rachel are on the sofa. The aria "Un Bel Di", from MADAME BUTTERFLY, is playing.)

CARL: What do you think we ought to do about Adele du Lac's accusations against Felicia?

RACHEL: Cass is handling everything.

CARL: Yes, on the legal end. But should we withdraw "Count On Love" from circulation until this matter is resolved?

RACHEL: (firmly) Absolutely not. Felicia is not only one of our best-selling authors, she is also one of our dearest friends, and withdrawing the book from circulation would make it seem as if we were not behind her in this matter.

CARL: You're probably right.

RACHEL: Of course I'm right. Besides, if withdrawing the book from circulation would help in any way, I'm sure Cass would have advised us to do so.  
FADE OUT

SCENE FOUR: CLOSING SCENE (The scene shifts to CARLINO'S. Joe is on the phone.)  
JOE: It's so good to hear your voice. (Pause.) Why, what happened? (Pause.) I'm sorry things didn't work out for you. (Pause.) Well, why don't you come back here? (Pause.) Of course I'd like to have you back. (Pause.) Good. I'll see you then. Listen...


	3. Episode 3

This episode begins three days after EPISODE TWO.

SCENE ONE

(The scene is the squad-room of the 2-3. Joe is talking with Adams. Gary walks in.)

JOE: Hey, Gary! When did you and Cameron get back?

GARY: About half an hour ago. We finished our investigation sooner than we expected. So, is Josie around?

JOE: No, she isn't.

GARY: Then I guess she's out working on a case.

JOE: No, she's at my house.  
GARY: Any particular reason for that?

JOE: This isn't going to be easy to tell you.

GARY: Tell me what?

ADAMS: Josie has been suspended.

GARY: She's been what?!

JOE: (sighs) It's true.I had to suspend Josie and place her under house arrest for two weeks. But it could have been worse. Internal Affairs wanted to demote her.

GARY: But why? What did she do that was so terrible?

JOE: Do you remember the fire that Grant Harrison was convicted of setting?

GARY: Sure I remember.

ADAMS: Joe found out that Grant didn't set that fire. Josie

GARY: You're not going to tell me that Josie set that fire, are you?

JOE: No, she didn't set the fire, but she planted the evidence that got Grant convicted.

GARY: That's not like her.

JOE: No, but I understand why she did it. It was to get even with Grant for burning my house to the ground.

ADAMS: The bottom line is, she did it because she loves you, sir.

JOE: I know. That's what made it so hard for me to punish her, but I had to, for her own good.

GARY: So when does Josie's punishment end?

JOE: In four days. (Gets a very thoughtful look on his face.) Look, I've got to make a phone call. Do me a favor, Gary, and don't go anywhere.

GARY: You've got it.  
FADE OUT

SCENE TWO

(The scene shifts to the living room of the Carlino home. Dante and Ryan Gabriel are on the floor, looking at a picture book. Dante is pointing things out to Ryan Gabriel. They are having a good time. Meanwhile, Paulina is talking on the phone.)

PAULINA: Right now our sons are on the floor, looking at a book. (Pause) Yes, they are sweet together. (Pause) She's in the guest bedroom.(Pause) All right, I'll tell her. (Pause) I love you, too. (Hangs up, goes upstairs, knocks on guest room door. Josie opens the door.)

JOSIE: What's up?

PAULINA: Joe just called. He wants you to get down to the 2-3 right away.

JOSIE:(surprised) Did he say why?

PAULINA: No, he just said it was important.

JOSIE: Could Internal Affairs have decided to punish me after all?

PAULINA: I don't think so. Joe didn't sound upset, or worried.

JOSIE: Will you please call him back, and tell him I'm on my way?  
FADE OUT

SCENE THREE

(The scene shifts to the squad room of the 2-3, ten minutes later. Josie walks in.)

JOSIE: Hey, Adams! Joe called and said I should get down here. Do you know what's going on?

ADAMS: Joe said to tell you to go right to his office.

JOSIE: I'm not in any more trouble, am I?

ADAMS: Why don't you go to Joe's office and find out?

(Josie goes to the door of Joe's office and knocks. Joe opens the door.)

JOSIE: I got here as soon as I (breaks off, shrieks) GARY!!! You got back early! (Runs to Gary; for the next few seconds, the two of them are wrapped up in each other.)

GARY: Cameron and I wrapped things up sooner than we expected. He went right home to Amanda and Alli, and I can't say that I blame him.

JOSIE: (face falling) But I can't go home with you. I'm (looks at floor) I'm grounded at Joe's house.

JOE: Not any more, you're not.

JOSIE: Really?

JOE: That's right. I'm lifting the remaining four days of your house arrest. Call it time off for good behavior. But you still have to serve the rest of your suspension. Now, suppose you two go home and spend the time together. (Josie throws her arms around Joe's neck and kisses him.)  
FADE OUT

SCENE FOUR: CLOSING SCENE

CHRISTMAS EVE  
(The scene shifts to the living room of the Carlino home. There is a Christmas tree with a crib scene under it. Joe, Paulina, Ryan Gabriel (on Paulina's lap), Dante, and Remy are on the couch.

JOE: I wonder why we haven't heard from Sofia.  
PAULINA: So do I. She always calls at Christmas time.

JOE: I really miss her. (Doorbell chimes.) I'll get that.(Goes to door, looks out, opens door. Sofia is standing there. Joe takes her in his arms.) Bambina! We were just talking about you. Oh, how I've missed you.

(Joe and Sofia go inside.)

SOFIA: The family's grown since I left. I have a niece, and another nephew.

PAULINA: (quietly) And it's about to grow even more. I've been saving this news for a Christmas surprise.

JOE: Blue Eyes, are you telling us what I think you're telling us?

PAULINA: Yes. We're having another baby.

DANTE: HOORAY! I want lots and lots of babies in this house.

PAULINA: You are just like your Daddy.

(Joe begins singing SILENT NIGHT. Everyone joins in, including Ryan Gabriel, who is too young to carry a tune.)  
FREEZE FRAME


	4. Episode 4

This episode takes place during Christmas week, 2002.

SCENE ONE  
(The scene is the Cory-Hutchins living room. Charles Dickens would love the way it is decorated. Carl, Rachel, Matt, Elizabeth, Cory, Cameron, Amanda, Alli, Joe, Paulina, Dante, Ryan Gabriel, Sofia, Remy, Nick, Josie and Gary are gathered together. The children are sprawled on the carpet, playing with toys.)  
CARL: So when is the baby due?  
PAULINA: In about six months.  
DANTE: (looking up) That's a long time.  
JOE: Yes, it is, but babies are worth waiting for. Well, does anybody feel like singing?  
RACHEL: Why not?

SOFIA: Any suggestions?  
MATT: How about "The Twelve Days Of Christmas"?  
GARY: Does anyone know all the words?  
CAMERON: After "five golden rings," I'm lost.  
JOSIE: Me, too.  
JOE: Well, let's give it a try, anyway.  
JOSIE: (mischievously) Is that an order?  
JOE: For you, yes.  
MATT: I'll start, since I suggested the song. (Sings) On the first day Of Christmas my true love gave to me (Everyone joins in.)  
FADE OUT

SCENE TWO  
(The scene shifts to Sergei and Felicia's house. There is a beautifully decorated tree. Sergei, Felicia, Cass, Lila, Charlie and Jasmine are together.)  
CHARLIE: I really like that book of Ukrainian folk stories you gave me.  
SERGEI: Some of the stories in that book, my grandmother used to tell me years ago. She would say, you can lose a book, but if the story is inside of you, it is yours forever.  
CASS: She sounds like a wise woman.  
SERGEI: She was.

FELICIA: Speaking of books, I got another letter from that Adele du Lac.>

CASS: And?

FELICIA: She is going ahead with the lawsuit.

JASMINE: What's a lawsuit?

LILA: (mischievously) It's what your Daddy wears to court. (Cass and Felicia groan.)

CHARLIE: You'll understand when you get older.

JASMINE: Oh.

SERGEI: I don't think this is the time to talk about lawsuits. Now, we have these delicious Ukranian pastries  
FADE OUT

SCENE THREE

(The scene shifts to the Cory-Hutchins home.)

AMANDA: I'm almost sure it's "Six swans a-laying" and ""Seven geese a-swimming".

CAMERON: Don't look at me. I told you, after "Five golden rings," I'm lost.

SOFIA: It's "Six geese a-laying" and then "Seven swans a-swimming".

JOSIE: Are you sure?

SOFIA: Absolutely. (Sings) On the sixth day of Christmas, my true love gave to me (Everyone joins in) six geese a-laying, five golden rings, four calling birds, three French hens, two turtle doves, and a partridge in a pear tree.

GARY: (sings) On the seventh day of Christmas (everyone joins in) my true love gave to me  
FADE OUT

SCENE FOUR

(The scene shifts to an undisclosed location, somewhere in Bay City. Tito is talking on the phone.)

TITO: No, nobody's seen me yet. (Pause.) Yes, I'm sure. (Screen splits, and we see that the person on the other end is Grant.)

GRANT: Good. Let's keep it that way for now.

TITO: When do we drop the bombshell?

GRANT: When the time is right.  
FADE OUT

SCENE FIVE

(The scene shifts to the Cory-Hutchins living room.)

JOSIE: Isn't it "Eight ladies milking"?

RACHEL: No, it's "Eight maids a-milking".

PAULINA: I think it's "Eight maids a-milking, Nine ladies dancing..."

CARL: It is. (Sings) On the eighth day of Christmas, (everyone joins in) my true love gave to me (Everyone joins in; they sing through: And a partridge in a pear tree.)

DANTE: (sings; he has a very good voice for his age) On the ninth day of Christmas, my true love gave to me (everyone joins in.) Nine ladies dancing, Eight maids a-milking, Seven swans a-swimming  
FADE OUT

SCENE SIX

(The scene shifts to Etta Mae's house. Etta Mae and Toni are sitting on the sofa.)  
ETTA MAE: It's too bad things didn't work out for you in Florida, baby, but I've got to admit I'm not sorry to have you back, especially since K.C. left.

TONI: I'm not all that sorry to be back. When I called Joe a few weeks ago, he said I could have my old job, if I wanted it.

ETTA MAE: Are you going to take him up on it?

TONI: I'm not sure. I don't know if I want anyone else at the 2-3 to find out what a mess I made of things in Florida.  
FADE OUT

SCENE SEVEN

(The scene shifts to the Cory-Hutchins living room.)

NICK: I'm almost sure it's "Ten Lords a-leaping".

JOE: You're right. It is. (Sings) On the tenth day of Christmas, my true love gave to me (Everyone joins in) Ten Lords a-leaping, Nine ladies dancing, Eight maids a-milking  
FADE OUT

SCENE EIGHT

(The scene shifts, and a split screen shows Grant and Tito still talking on the phone.)

TITO: I don't know how much longer I can stay out of sight.

GRANT: You'll stay out of sight for as long as I tell you to.

TITO: But it's been more than a month now. I'm getting tired of this.

GRANT: Well, isn't that just too bad? Let's get one thing straight, Tito. You will do exactly what I tell you to do when I tell you to do it, or you'll be back in prison so fast, it will make your head spin.  
FADE OUT

SCENE NINE: CLOSING SCENE

(The scene shifts to the Cory-Hutchins living room.)

RACHEL: I think we have it now. (Sings) On the twelfth day of Christmas, my true love gave to me (everyone joins in) Twelve drummers drumming, Eleven pipers piping (They sing all the way through.)

CARL: Do you mean to tell me we actually finished the song?

JOE: Yes, we did.

CARL: For awhile, I didn't think we'd finish before the twelfth day of Christmas. (Everyone laughs.)  
FREEZE FRAME


	5. Episode 5

This episode takes place several weeks after the previous one. It is now the third week of January, 2003.

SCENE ONE  
(The scene is Joe's office at the 2-3. Joe and Toni are inside, talking.)

TONI: I'm just not sure I can come back and work here again.

JOE: Why not? I'd love to have you back, and I know Josie would love to work with you again.

TONI: Will she be in later?

JOE: No. This is her day off.

TONI: Well, I'd sure love to work with her again. We went through a lot together.  
But after the way I messed up in Florida...

JOE: (firmly, but not sternly) What happened there was not your fault.

TONI: Wasn't it? I was fired due to mass corruption in my precinct, remember?

JOE: Toni, listen to me. Unfortunately, sometimes there will be a precinct full of  
bad cops. Gabe, God rest his soul, used to call them "cops who don't deserve to wear  
the badge," and he was absolutely right.

TONI: I never should have accepted that captaincy. I mean, who was I kidding?  
I'd only been a cop for about two years. What did I know about running a precinct, let alone dealing with bad cops?

JOE: Look, Toni, you had a bad experience, but that doesn't make you a bad cop.

TONI: (scoffs) But I sure wasn't a very good captain. I'll bet _you_ could have  
whipped that precinct into shape.

JOE: What I don't understand is how _any_ cops could betray their shields, especially  
after 9-11. I don't see how they can dishonor the memory of all the heroes who make me  
prouder than ever to be a cop.

TONI: Thanks, Joe.

JOE: For what?

TONI: For what you just said. It helped me to make up my mind. I'm coming back to work.

JOE: Great. I'll get the paperwork started right away.

FADE OUT

  


SCENE TWO

(The scene shifts to Josie and Gary's house.)

JOSIE: So are you and Cameron going to take that case?

GARY: Probably. I just hope it doesn't take us out of town.

JOSIE: So do I. I like having my husband at home, especially now.

GARY: Why especially now?

JOSIE: Well, I have news for you. I'm pregnant.

GARY: You're WHAT??!!

JOSIE: Pregnant. You know... with child, expecting, going to have a baby.

GARY: Yeah? Whose baby is it, Josie?

JOSIE: It's _your_ baby, of course.

GARY: (laughs harshly) Well, it can't be my kid, because I can't father children any more, remember? Not since Boca Lynda. Remember Boca Lynda, Josie? Where we were the _last_ time you got pregnant?

JOSIE: That's not fair. And maybe the condition reversed itself.

GARY: The doctor said it was irreversible.

JOSIE: Well, doctors make mistakes sometimes.

GARY: No, I'm the one who made the mistake when I came back to you.

JOSIE: Gary, you're being unreasonable. Will you at least have yourself tested?

GARY: What for? It would be a waste of time. (Puts on coat and storms out, slamming the door behind him.)  
FADE OUT

  


SCENE THREE  
  


(The scene shifts to the squad room of the 2-3, about fifteen minutes later. Joe is pouring a cup of coffee. Josie comes in, crying.)

JOE: (puts down coffee cup.) Josie, what's wrong?

JOSIE: Gary thinks I've been cheating on him.

JOE: Why would he think that?

JOSIE: I'm pregnant, and we were told that Gary can't father children any more.

JOE: Well, why doesn't he have himself tested?

JOSIE: I asked him to, but he just stormed out, and I have no idea where he went. I'm so scared, Joe. What if he starts drinking again? (Sobs heartbrokenly.)

JOE: We'll find him. (Takes Josie in his arms and strokes her hair.) Don't worry, Josie. Everything will be all right. (Looks up and mouths the words, "Please, God.")  
FADE OUT

  


SCENE FOUR: CLOSING SCENE

(The scene shifts to an unidentified bar. Gary is at a table, alone. There is an empty glass in front of him.)

GARY: (slurring his words) I'll have another.

BARTENDER: You've had enough.

GARY: Don't you tell me I've had enough! I'll decide when I've had enough! Give me another drink NOW!!! (Bangs fist on table.)

BARTENDER: No. I'm cutting you off.

GARY: Well, in that case, I'll just go somewhere else. (Gets up, knocking chair over, and walks out very unsteadily. A few seconds later, we hear a car driving off at a speed better suited to Daytona or Indy.)  
FREEZE FRAME


	6. Episode 6

This episode takes place on the same day as the previous one.

SCENE ONE  
(The scene is Sergei and Felicia's house. Sergei walks in with the mail.)

FELICIA: Anything interesting?

SERGEI: A couple of catalogs, the telephone bill, and a letter for you from   
that Adele du Lac. (Gives letter to Felicia.)

FELICIA: Thank you. (Opens letter and reads it out loud.)"I've been extremely busy  
working on my new novel. I also wanted to give you one more opportunity to admit that   
you (Felicia pronounces the next three words angrily) a hack writer,"

SERGEI: What does that mean, "hack writer"?

FELICIA: She's saying that I have no real talent.

SERGEI: And what else does she say?

FELICIA: (reading) "You, a hack writer, plagiarized the plot for your not-even   
third-rate novel, COUNT ON LOVE, from my online writing journal. Whereas you have   
obviously chosen not to respond,"

SEGEI: But you did respond, didn't you?

FELICIA: Of course I responded. I had Cass get in touch with her immediately. (Reads)  
"I have no recourse but to go ahead with my lawsuit unless you agree to settle out of  
court within ten days."

SERGEI: What is "settle out of court"?

FELICIA: It means that I would pay her for the ideas she claims I stole.

SERGEI: Why should you pay her one, what is the expression, orange cent?

FELICIA: Red cent, and believe me, I have no intention of paying her one cent of any  
color. I'm going to see Cass.

FADE OUT

SCENE TWO  
(The scene shifts to the front yard of the Carlino home. Dante and a little girl of  
the same age with sandy hair and freckles are playing in the snow. Paulina, Sofia, and a man in his late twenties  
to early thirties, with the same color hair, but without the freckles, are watching them and speaking in low voices.)

PAULINA: They sure have fun together.

MAN: They sure do. It's funny, though. When I was that age, I wouldn't look at a girl  
if I could help it.

SOFIA: Times have changed, Mr. Bennet.

DANTE: I like you a lot, Bonnie.

BONNIE: I like you too.

DANTE: A lot?

BONNIE: A whole lot.

DANTE: I like you better than anyone else in our class.

BONNIE: Me, too.

PAULINA: Aren't they cute?

SOFIA: It's little things like this that make me glad I came back to Bay City.

PAULINA: Well, you know Joe and I love it that you are back.

SOFIA: I know, but it's time I got my own place again.

PAULINA: There's no rush. We have more that enough room.

SOFIA: All right. I'll stay, at least until after the baby is born.

PAULINA: I'm glad to hear that, and I know Joe will be thrilled.

MR. BENNET: It's time to go.

BONNIE: (reluctantly) Oh, all right.

DANTE: I'll see you in school tomorrow.

FADE OUT

SCENE THREE  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside, talking.)

JOSIE: I don't even know where Gary is. What if he starts drinking again?

JOE: Listen, Josie, don't assume the worst. Maybe he went to a meeting, or maybe   
Felicia knows where he is.

JOSIE: You're right. I should have thought of that myself. I'll give her a call.

JOE: You can use the phone here.

JOSIE: Thanks. (Picks up receiver, presses buttons, waits.) Felicia? It's Josie. (Pause)  
Actually, I'm worried about Gary. Have you seen him? (Pause) Not since yesterday? I  
really need to find him. I'm afraid he might be drinking again. (Pause) Thank you so   
much. I really appreciate that. (Hangs up phone.)

JOE: She's going to look for him?

JOSIE: Yes, she said she would. But what if it's too late? If anything's happened to him,  
it's all my fault, Joe!

JOE: How could it possibly be your fault?

JOSIE: Don't you remember? Last time I was pregnant, Gary wasn't the father. Cameron was.

JOE: And you went through Hell for months. But that doesn't make what's going on now  
your fault. (Phone on desk rings; Joe picks it up.) Carlino. (Pause) When? (Pause)  
I'll be right there. (Hangs up phone.)

JOSIE: (scared) Joe, is it (hesitates) is it Gary?

JOE: (Puts arm around Josie, speaks very gently) Josie, listen to me. I don't have   
all the details, but Gary's been in an accident, and he's been taken to the hospital.

JOSIE: I've got to get there right away.

JOE: I'll go with you.

FADE OUT

SCENE FOUR  
(The scene shifts to Cass Winthrop's office. Cass and Felicia are still inside. Felicia  
is putting her cell phone in her purse.)  
FELICIA: That was Joe. Gary was in an accident.

CASS: (concerned) How bad is it?

FELICIA: Joe didn't have very much information. He and Josie are on their way to the hospital.

CASS: Let's hope everything is all right.  
FADE OUT

SCENE FIVE  
(The scene shifts to an undisclosed location. Grant and Tito are talking.)  
GRANT: (showing Tito a photograph) This is Sofia Carlino, Joe's sister.

TITO: You mean my

GRANT: I want you to get to know her.

TITO: But

GRANT: No buts. You will, to put it crudely, make a play for her. That is how you will  
renew your involvement with the family.

TITO: They'll never buy it, me falling for Sofia.

GRANT: Why not? She's pretty enough.

TITO: She's older than I am.

GRANT: So what? Younger men and older women fall in love all the time. Now, when you talk  
to Sofia for the first time, don't let on that you already know who she is.

TITO: And what's in it for me?

GRANT: That's easy. You don't go back to prison.

FADE OUT

SCENE SIX: CLOSING SCENE  
(The scene shifts to BAY CITY UNIVERSITY HOSPITAL. Joe and Josie are talking to a nurse  
at the Nurses' Station.)

JOE: Gary Sinclair. He was brought in a few minutes ago.

JOSIE: I have to know if he's all right.

NURSE:(a bit testily) Well, you'll have to wait. It's been busy here. Some drunk driver struck a little  
girl. (Josie collapses into Joe's arms.)

JOE: (reassuringly) It may not be Gary.(Mouths words, "Nice going" to nurse.)

JOSIE: But what if it is? Will you

JOE: I'm already praying.

NURSE:(speaking more kindly) Look, why don't you go sit down? I'll let you know when we have any news.

(Gary walks in. He has a small bandage on his forehead.)

JOSIE: Oh, Gary! Gary! You're all right!

(Mr. Bennet approaches.)

JOE: Thank God.

MR. BENNET: Thank God, nothing! This lousy drunk killed my little girl! I want (breaks  
into anguished sobs) I want him arrested!

(Joe, Josie, and Gary stand there, stunned.)  
FREEZE FRAME  



	7. Episode 7

This episode takes place on the same day as the two previous episodes.

SCENE ONE  
(The scene is the Cory-Hutchins living room. Carl and Rachel are on the sofa, talking. BEETHOVEN'S FIFTH SYMPHONY is playing.)  
CARL: I came across something that should interest you. A new art gallery recently opened in Chicago.

RACHEL: Really? What is the name?

CARL: The Tripodi Gallery.

RACHEL: I'm surprised that I didn't hear about it before now. I usually keep up with these things.

CARL: Well, you've had other things on your mind. The accusations against Felicia, for one.

RACHEL: That's true.

CARL: But speaking of this new gallery, I'm sure the owners would be delighted to present an exhibition of your works.  
After all, you have quite a name in the art world.

RACHEL: But it's been years since my last show.

CARL: Which is precisely why it's time, and more than time, that you had another one.

RACHEL: You are absolutely right. It _is_ time I had another show.

FADE OUT  
  
  
SCENE TWO  
(The scene shifts to the backyard of the Carlino home. Sofia and Dante are building a snowman.)  
SOFIA: You really like that girl, Bonnie, don't you?

DANTE: She's my best friend. She's lots of fun to play with, and she's  
the fastest runner in our class, and she likes to sing, and she's real good at making things with clay.

SOFIA: Does she have a lot of friends?

DANTE: Uh huh. But I'm her very _best_ friend.

SOFIA: It's good to have a special friend, isn't it?

DANTE: Yes, because that way you always know someone will choose you for games.

FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to BCUH. Joe, Gary, and Josie are standing near the reception  
desk, stunned by what they've just heard. Mr. Bennet is shaking his fist at Gary.)

MR. BENNET: You no good, worthless drunk! My daughter is dead because of you!

GARY: (covers his face with his hands) No! God, no! This isn't happening! It's  
a nightmare!

MR. BENNET: No, you son of a bitch, a nightmare is a dream. I'm not dreaming that  
my Bonnie is dead. I saw that monitor flatline. (Turns to Joe) I want you to arrest  
this worthless piece of trash. Isn't that part of your job, arresting drunk drivers?

JOSIE: Joe, do you have to?

JOE: Listen, Josie, why don't you go get something to eat?

JOSIE: Look, Joe, I know what you are trying to do, and I appreciate it, but you  
don't have to shield me from this. I'm staying right here.

JOE: Well, that's up to you. (Sighs) Gary Sinclair, you are under arrest. The  
charges are driving while intoxicated, and (voice breaks) involuntary manslaughter.  
You have the right to remain silent

(Josie stands there, crying.)  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to the Cory-Hutchins living room. Carl and Rachel are still talking.)  
CARL: How soon do you think you can have your show?

RACHEL: Ten minutes ago, the idea of having another show hadn't even occured to me, and we have to face the fact that  
the owners of The Tripodi Gallery may not even be interested in my works.

CARL: Then the more fools they. On the other hand, they could just as easily consider your works just the thing to help the gallery to get established.

RACHEL: But I'm not sure I have enough new works ready, if, in fact, they give me a show.

CARL: Why not do a retrospective?

RACHEL: That's an idea, but I'd also want to (Phone rings. Rachel picks up receiver.)  
Hello? (Pause) Hello? (Pause) (slightly annoyed) Is anybody there? (Hangs up.)

CARL: Who was that?

RACHEL: I don't know. They hung up without saying anything. You'd think a person  
would at least have the courtesy to say, "Oh, I'm sorry. I must have the wrong number."  
(Phone rings again; Rachel picks up the receiver.) Hello? (Pause) Hello? (Pause) Listen,  
whoever you are, you really need to learn some manners. Goodbye. (Hangs up.)

CARL: That's telling him... or her. (Phone rings yet again.) I'll get it this time.  
(Picks up receiver.) Hello? (Pause) I've asked you not to call here. (Pause) I thought  
we had that settled. (Pause) No, I really can't talk now. Goodbye. (Hangs up.)

RACHEL: Who was that?

CARL: Nobody important.  
FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to BCUH.)  
JOE: You have the right to an attorney  
(A doctor in his forties approaches.)

DOCTOR: Mr. Bennet, I have some good news. Your daughter is alive.

MR. BENNET: (almost afraid to believe it) Bonnie's alive?

DOCTOR: Bonnie is alive. Now, she did sustain some injuries, and we still don't  
know the extent of the damage.

MR. BENNET: That doesn't matter right now. All that matters is that my little  
girl is still here.

JOE: Thank God.

GARY: I can't begin to tell you how relieved I am.

JOSIE: Me, too.

JOE: We're all very relieved, and very thankful.(seriously) But, Gary, you were driving  
while intoxicated, which all too often leads to a tragedy, just like it almost did today.  
So as much as I hate doing this, you are still under arrest. You have the right to remain silent  
FADE OUT  
  
  
  
SCENE SIX: CLOSING SCENE  
(The scene shifts to the Cory-Hutchins living room. Rachel is no longer there. Carl  
is on the phone.)  
CARL: Yes, she's gone out. (Pause.) No, that's not a good idea. (Pause) Because she  
doesn't know anything about this. (Pause) Until quite recently, I didn't think there  
was any reason to mention it. (Pause) Yes, we do have to do something about this  
situation. (Pause) No, don't come to Bay City. We'd better meet someplace else. (Pause)  
Perfect. We'll meet at Java Underground in Oakdale tomorrow. (Pause) Well, when, then?  
(Pause)Very well, a week from tomorrow, then.  
FREEZE FRAME  



	8. Episode 8

This episode takes place eight days after the previous episode. It is now  
February, 2003  
  
SCENE ONE  
(The scene is Cass Winthrop's law office. Cass and Felicia are talking.)  
FELICIA: Where is that du Lac woman?

CASS: She must have been delayed.

FELICIA: Well, you'd think she'd at least have the courtesy to call.

CASS: Have her letters to you been courteous?

FELICIA: Not at all. They've been downright insulting. (The door opens, and a   
woman with copper-colored, obviously dyed hair walks in.)

CASS: Adele du Lac, I presume?

WOMAN: Hardly. I am Elaine Bachman, Ms.du Lac's agent.

CASS: My client and I were expecting Ms.du Lac.

FELICIA: Why isn't she here?

ELAINE: (condescendingly) Well, really, my dear, you must understand that Adele du Lac   
happens to be a very busy woman.

CASS: And I happen to be a very busy attorney, so you can just tell Ms. du Lac that my   
client and I expect her to come in person, or we will consider the entire matter closed.

ELAINE: I'm afraid that's not possible.

FELICIA: Oh, really? And why not?

ELAINE: Because Adele du Lac is the nom-de-plume of somebody rather well known who prefers   
to keep her real name a secret.

CASS: Well, we'd prefer a face-to-face meeting.

FELICIA: Or is she afraid to face me?

ELAINE: Now, why would you think that Ms. du Lac could ever possibly be afraid of(insulting emphasis) _you_?

FELICIA: Because she has made some totally unfounded accusations.

CASS: My client is absolutely right. We've both spent hours researching online writing   
journals, which, by the way, are dated, and we've found nothing even remotely resembling COUNT ON LOVE. Now, I insist on   
meeting Ms. du Lac in person. I am upholding my client's right to confront her accuser.

FADE OUT  
  
  
SCENE TWO  
(The scene shifts to the library. Sofia is seated at a table, reading a magazine. We   
do not see the title. Tito walks up to her.)  
TITO: (whispers) Excuse me, is anybody sitting here?

SOFIA: (whispers) No. (looks up) Wait a minute. I know who you are. You're Tito Banecek.

TITO: You must have me mixed up with someone else.

SOFIA: No, I don't. Now, please sit someplace else. I have nothing to say to you.

TITO: There's no need to be hostile.

SOFIA: Hostile? After what you did to my family?

TITO: Look, I don't know what you're talking about. I don't even know who you are.

SOFIA: Oh, don't you?

TITO: Honestly, I have no idea.

SOFIA: I'm Sofia Carlino.

TITO: And is that supposed to mean something to me?

SOFIA: Does the name _Paulina_ Carlino mean anything to you? You remember. You   
pretended to be her long-lost son.

TITO: I don't know what you are talking about.

SOFIA: (getting up) I don't even want to be in the same room with you.

(Sofia walks away.)  
FADE OUT  
  
  
SCENE THREE  
(The scene shifts to Java Underground in Oakdale. Carl is seated at a table. It is   
obvious that he is waiting for someone. A woman with black, shoulder-length hair walks in, looks around, approaches.)  
WOMAN: Hello, Carl.

CARL: Hello, Lydia. I suppose it would be polite to say "It's good to see you," but, (spreads   
his hands and shrugs his shoulders as if to say, "Well, you understand.")

LYDIA: (sitting across from Carl) Now, I had my attorney double-check his findings.

CARL: And?

LYDIA: There's no doubt about it. The divorce wasn't legal.

CARL: Well, that can be taken care of quite easily.

LYDIA: You never told your (coughs) what, exactly should I call her?

CARL: My _wife_.

LYDIA: _I_ am your _legal_ wife.

CARL: That means nothing to me.

LYDIA: I take it you never told her about us.

CARL: I considered our relationship a part of the past that was best left   
in the past.

LYDIA: Well, I'm in your future now.

CARL: No. You are in my past. We are going to get another divorce, and this time I'll   
make damned sure it's legal.

LYDIA: And then what? You and Rachel still won't be legally married.

CARL: I'll worry about that after you and I are divorced.

(Isaac approaches the table.)

ISAAC: Are you ready to order?

LYDIA: Yes. I think I'll have

FADE OUT  
  
  
SCENE FOUR  
(The scene shifts to Cass Winthrop's law office. Cass and Felicia are talking. Elaine is   
no longer there)  
FELICIA: Can you believe the nerve of some people?

CASS: Do you mean Adele du Lac, or her agent?

FELICIA: Both. I mean, she accuses me of stealing my plot from an online journal which may  
not even exist, and then she sends her agent instead of having the common decency to face   
me personally.

CASS: And that Elaine person was so condescending, as if we were hardly worth Ms. du Lac's   
time.  
FELICIA: I wonder

CASS: What?

FELICIA: What's the real reason Adele du Lac doesn't want to meet with me face-to-face?

CASS: Well, I made it crystal clear that she has no other choice.

FADE OUT  
  
  
SCENE FIVE: CLOSING SCENE  
(The scene shifts to an undisclosed location. Grant and Tito are talking.)  
GRANT: So you're telling me that she recognized you?

TITO: I told her she had the wrong guy, but I don't think she bought it.

GRANT: Well, that means we'll have to change our strategy.

TITO: In what way?

GRANT: You will meet Sofia again, and you will admit that she was right.

TITO: And then what?

GRANT: You will convince her that you regret everything you did to her family, and   
you want her to help you to make amends.

TITO: How do I do that?

GRANT: You figure it out. I pulled a lot of strings to get you out of prison, while I myself   
was behind bars. So you owe me. Never forget, you owe me.

TITO: All right. So I pretend I've reformed.

GRANT: And you make Sofia fall in love with you.

TITO: And then what?

GRANT: And then, when the time is right, I'll drop the bombshell. The good citizens of   
Bay City are going to learn that Captain Joseph Carlino never _was_ the saint he pretends   
to be.  
  


FREEZE FRAME


	9. Episode 9

This episode takes place a little more than a week after  
the last one. It is now the third week of February, 2003

SCENE ONE 

  
(The scene is the squad room of the 2-3. Joe is talking to Adams. We do not hear what they are saying. Carl walks in. Joe finishes talking with Adams and walks up to Carl.)

CARL: Joe, I need your help.

JOE: As a cop, or as your son-in-law?

CARL: I'd rather we talked someplace more private.

JOE: We can go into my office. (They go inside. Joe locks the door and closes the blinds.)

CARL: Joe, I need you to promise me that you won't repeat what I'm about to tell you to anyone.

JOE: Not even to Rachel?

CARL: Especially not to Rachel.

JOE: All right, what's going on?

CARL: Rachel's life is in danger.

JOE: Why do you think Rachel's life is in danger?

CARL: I recently heard from someone that I thought was out of my life.

JOE: And who is this someone?

CARL: Her name is Lydia. Lydia (hesitates for a few seconds) Hutchins.

JOE: I'm guessing she's not your sister.

CARL: (sighs) No. She is my wife. We were married years ago in Arizona,   
but things didn't work out,   
and we were divorced, or so I thought until recently.

JOE: The divorce wasn't legal?

CARL: No, it wasn't. I met with Lydia the other day at Java Underground in Oakdale.

JOE: Well, I can see why you wouldn't want to be seen with her in Bay City.

CARL: Exactly. I asked her for a legal divorce, and she refused.

JOE: You have to tell Rachel.

CARL: I can't.

JOE: She has a right to know.

CARL: She also has a right to stay alive, and Lydia has made some threats.

JOE: Well, I'll do everything I can to protect Rachel, but I still think you  
should tell her what's going on.

CARL: I can't take that chance, Joe, and I have to ask that  
you not say anything to her, either.

JOE: I won't. That's your business, not mine. My business, both  
as a cop and as Rachel's son-in-law, is to keep her safe.

CARL: I knew I could count on you.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to Bonnie's hospital room. Mr.Bennet and a medium-sized woman with short black hair are in the room. Bonnie is hooked to a monitor, which beeps steadily.)

WOMAN: Why doesn't she wake up?

MR. BENNET: I don't know. I just don't know. And when I think of that lousy drunk who put her here getting off with a fine and losing his license for six months, I could...

WOMAN: I feel the same way. After all, Bonnie is our only child.

MR. BENNET: I think that bastard got off so easy because his wife is a cop.  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to the 2-3. Josie is at her desk, working on the computer. Joe walks up to her.)  
JOE: Josie, it's time you took your lunch break.

JOSIE: I'm not hungry.

JOE: Come on, Jos, you have to eat something.

JOSIE: I can't eat. Gary has barely said a word to me since the accident, and I don't know how much longer I can stand it.

JOE: Forget about Gary for now. He'll come to his senses eventually.

JOSIE: But right now he almost hates me, and I think he hates the baby... his own baby!

JOE: I think he hates himself, too.

JOSIE: Because of little Bonnie Bennet?

JOE: Exactly.

JOSIE: No, I'm the one he hates, because he blames me for what happened.

JOE: How could he possibly blame you?

JOSIE: He says that if I hadn't gotten myself pregnant, he wouldn't have gotten drunk, and the accident would never have happened.

JOE: That's a load of crap. You are not responsible for what Gary did. _He_ made the decision  
to drink, and then _he_ made the decision to drive.

JOSIE:I know, but what I know and what I feel are two different things.

JOE: I know what you mean. I've been there. Now, how about taking your lunch break?

JOSIE: I'm just not hungry.

JOE: All right. I'm going out for a little while.  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to the Cory-Hutchins living room. Carl and Rachel are on the sofa, talking.)  
RACHEL: My sculpture of Cory and Elizabeth is almost finished.

CARL: Well, I think it's one of the best things you've ever done.

RACHEL: Well, I had beautiful models.

CARL: Of course they are. After all, their mother is the most beautiful woman in the world.  
RACHEL: And they have such a handsome, distinguished father.

CARL: Isn't it almost time for that broadcast of THE MARRIAGE OF FIGARO   
we wanted to listen to?

RACHEL: (looks at her watch) Yes, it is. (Walks over to radio, turns it on.)

ANNOUNCER: In just a few minutes, Mozart's THE MARRIAGE OF FIGARO, but first, a local item of interest.   
The recently-opened Tripodi Gallery will present an exhibit of works by renowned sculptress Rachel Cory.   
this summer. The opening date for this exhibit has not been set.

RACHEL: (annoyed) Sculptress? I am not a sculptress. I am a _sculptor_.

CARL: What century is that man living in?  
FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to the squad room of the 2-3. Joe comes in with a plastic bag, walks over to Josie's desk.)  
JOE: Josie, come into my office.

JOSIE: Yes, sir.

(They go into Joe's office. Joe opens bag, puts food and a container of milk on his desk)

JOE: Here you go.

JOSIE: What's that?

JOE: _That_ is your lunch.

JOSIE: But I told you I wasn't hungry.

JOE: I know what you told me. Now, Josie, I know you're unhappy right now, but not eating isn't going to help. Now, you and I are staying right here until you eat your lunch and drink all your milk. It's for your own good.

JOSIE: All right. I'll try to eat. (Josie begins eating.)  
FADE OUT  
  
  
  
SCENE SIX

SEVERAL HOURS LATER

(The scene shifts to the Carlino living room. Joe and Dante are on the couch)  
DANTE: Know what, Daddy?

JOE: What, son?

DANTE: Bonnie hasn't been in school for a long time, and nobody is saying why. I think there's something wrong.

JOE: (takes Dante on his lap, holds him close.) Well, I guess it's time to tell you.

DANTE: What, Daddy?

JOE: (gently) I should have told you sooner. Bonnie is in the hospital.

DANTE: Why?

JOE: She was in an accident. She was hit by a car, and she was hurt pretty badly.

DANTE: (scared) Is she..is she going to die?

JOE: I don't think so.

DANTE: But could she?

JOE: I won't lie to you. She could.

DANTE: And then she'd go to Heaven?

JOE: That's right.

DANTE: I don't want Bonnie to go to Heaven yet.  
I want her to stay here, because we have so much fun playing together. Oh, Daddy, I don't (starts crying)   
I don't want Bonnie to die.

(Joe hugs Dante closer.)  
FADE OUT  
  
  
  
SCENE SEVEN: CLOSING SCENE  
(The scene shifts to Bonnie's hospital room. Her parents are still there.)  
MR. BENNET: We were going to teach Bonnie to ice-skate this year.

MRS. BENNET: I learned to skate when I was her age.

MR. BENNET: I was about a year older.

MRS.BENNET: She was looking forward to it so much.

MR. BENNET: I know, and now... (Bonnie opens her eyes)

BONNIE: Mommy? Daddy? Where am I?  
FREEZE FRAME  



	10. Episode 10

This episode takes place two weeks after the previous  
one. It is now March, 2003

SCENE ONE

The scene is Cass Winthrop's law office. Cass and Felicia are talking, and they are furious.  
Cass has a letter in his hand. )

FELICIA: Do you believe that Adele du Lac's latest stunt?

CASS: It _is_ pretty low. (Reads letter) Dear Ms. Gallant: This is to inform you  
that I have posted messages regarding your plagiarism to various boards. I intend to expose  
you for the literary thief you are."

FELICIA: Can she really do that?

CASS: Anybody can send anything to message boards which have open posting. This is sometimes unfortunate.

FELICIA: And she doesn't even say which boards, so there's no way I can respond.

CASS: We'll just have to check every board we can find.

FELICIA: That could take weeks.

CASS: (sighs) I know.

FELICIA: And how do we know that she actually posted any messages?

CASS: You are absolutely right. I'm going to write to Ms. du Lac and demand  
that she tell us exactly where she has posted her messages.

(Door opens, Gary walks in)

FELICIA: Gary, are you all right?

GARY: No, I'm not all right. I've decided to file for a divorce.  
FADE OUT

SCENE TWO  
(The scene shifts to the squad room at the 2-3. Toni and Josie are talking.)  
TONI: Joe wanted me to work on a case, but I turned it down.

JOSIE: You can't keep turning down cases.

TONI: I know, but I just don't feel ready yet.

JOSIE: You've been back for weeks, but it's like you're not back at all.

TONI: I think I'm just scared.

JOSIE: What are you scared of?

TONI: Messing up like I did in Florida.

JOSIE: Forget Florida. If Joe didn't think you could handle police work here,  
he wouldn't have asked you back, and you know it.

TONI: Maybe what went down in Florida changed me more than Joe realizes.

JOSIE: Have you told him the whole story?

TONI: I haven't told anybody the whole story.  
FADE OUT

SCENE THREE  
(The scene shifts to the supermarket. Sofia is in the detergent aisle.  
Tito approaches)  
TITO: So we meet again.

SOFIA: I told you before, I've got nothing to say to you.

TITO: Could we please just talk for a minute?

SOFIA: What part of "I've got nothing to say to you" don't you understand?

TITO: If you'd just listen for one minute

SOFIA: Give me one good reason why I should.

TITO: Because you are the only person who can help me.

SOFIA: (suspiciously)Why would I want to help you?

TITO: Because I want to make amends for what I did to your family.

SOFIA: Give me one reason why I should believe you.

TITO: Well, you see, I met a priest while I was in prison, and  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to Cass Winthrop's law office.)

FELICIA: Gary, I really think you're making a mistake.

GARY: Look, Felicia, I know you're my A.A. sponsor, but

FELICIA: But I'm also your friend.

GARY: But you are not my attorney.

CASS: I really would rather not handle this case. After all, you and Josie are both  
friends of mine.

GARY: I know, but I don't want some stranger handling this.

CASS: I'll take this case on one condition.

GARY: What?

CASS: That you hold off for six weeks. See if you and Josie can't work things out.

GARY: I've held off long enough already.

CASS: Six weeks, or you'll have to find another attorney.

GARY: Well, I guess I can wait six weeks.

CASS: Then it's settled.

FELICIA: (to Gary) Why don't we go to a meeting?

(They say their goodbyes to Cass, and leave. Phone rings, Cass lifts receiver)

CASS: Cass Winthrop.

MAN'S VOICE: (unrecognizable) You don't know where, and you don't know when.

CASS: Hello? Hello? Who is this?  
FADE OUT

SCENE FIVE  
(The scene shifts to the 2-3. Toni and Josie are still talking.)  
TONI: So let's talk about you. How are you feeling?

JOSIE: It's funny. I don't feel the way I did the other times I was pregnant.

TONI: Maybe it's the stress from everything else you've been going through. What does  
your doctor say?

JOSIE: I (Joe walks in while Josie is speaking) haven't been to a doctor.

JOE: Did I hear you right, Josie? Did you say you haven't been to a doctor?

JOSIE: No, sir, I haven't.

JOE: Well, that's something you need to take care of right away.

JOSIE: I know. It's just that I don't want to go alone, and Gary, well...

JOE: I understand. Wait, I have an idea, but first I have to make a phone call.  
(goes into office.)

TONI: Do you think he's making an appointment for you?

(Joe comes back into the squad room.)

JOE: Josie, I just talked with Paulina. She said she'll be glad to  
take you to her doctor.

JOSIE: I really appreciate it, but she doesn't have to do that for me.

JOE: Maybe not, but she wants to. Now, there's a case I want to put you two on.  
FADE OUT  
  
  
  
SCENE SIX: CLOSING SCENE  
(The scene shifts to an undisclosed location. Grant and Tito are talking.)  
GRANT: So you did better this time?

TITO: I think so. I told Sofia that I met a priest while I was in prison.

GRANT: Ah, the religious angle.

TITO: I figured it was my best shot with her.

GRANT: How religious does she think you are?

TITO: She thinks I was baptized in prison.

GRANT: That may have been too much, too soon.

TITO: What do you mean?

GRANT: Now you have to act like a good Catholic, so she doesn't get suspicious.

TITO: This isn't going to be easy. Why can't I just tell Sofia and everybody else who I really am?

GRANT: I told you before, the truth will come out when I decide the time is right.  
FREEZE FRAME  



	11. Episode 11

This episode takes place one week after the previous episode.  
It is now the middle of March, 2003.

  


SCENE ONE 

  
(The scene is Cameron and Amanda's dining room. Amanda, Cameron, and Alli  
are eating breakfast.)  
ALLI: Does Uncle Gary still think Josie cheated on him?

CAMERON: I'm afraid so.

ALLI: Well, you can't really blame him. After all

AMANDA:(warningly) Don't go there.

CAMERON: I thought Gary had gotten past all that.

AMANDA: Like we did.

CAMERON: I think the fact that Josie and I lied to Gary bothered him at least as much as  
what we did in Boca Lynda.

AMANDA: At least he doesn't think you're the father of _this_ baby.

ALLI: Do you think Gary really is the father?

CAMERON: Yes, I do.

AMANDA: Do you ever wish that Gary Jr. had lived?

CAMERON: (quietly) Yes. (Phone on other side of the room rings.)

AMANDA: I'll get it. (goes to phone, picks up receiver) Hello?

VOICE ON PHONE: You don't know where, and you don't know when.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to Sergei and Felicia's dining room. Sergei and Felicia have finished their breakfast, and are lingering over a cup of coffee)

FELICIA: So far, I've found ten message boards where that Adele du Lac has posted her lies  
about COUNT ON LOVE.

SERGEI: Does anybody believe her accusations?

FELICIA: Unfortunately, some people do.

SERGEI: Why don't you send a message of your own?

FELICIA: Cass advised me to talk to him before I respond. (Telephone rings off-screen.)

SERGEI: Do you want me to get that?

FELICIA: No, I'll get it. (gets up, leaves room, returns in a minute, visibly shaken.)

SERGEI: Bad news?

FELICIA: No, just one of those creeps. All he said was, "You don't know where, and you don't know when."  
FADE OUT  
  
  
  
SCENE THREE  
SEVERAL HOURS LATER  
(The scene shifts to the office of Dr. Louise Whelan, OBGYN. Paulina and Josie are in the waiting room.)  
JOSIE: I really appreciate your doing this for me.

PAULINA: Hey, no problem. Dr. Whelan said she'd look at you as soon as she finishes with me.

JOSIE: Do you know whether your baby is a boy or a girl?

PAULINA: No. Joe and I want to be surprised.

(Dr. Whalen's examining room door opens. A woman who looks as if she's in her eighth month  
comes out. The receptionist, a pleasant looking woman, comes to the door.)  
RECEPTIONIST: Mrs. Carlino? You're next.

PAULINA: (getting up) This shouldn't take too long. (walks into examining room. Josie picks up magazine, puts it down, sighs, picks it up again, begins to read.)  
FADE OUT  
  
  
SCENE FOUR  
(The scene shifts to the squad room at the 2-3. Joe and Toni are standing near the coffeepot, talking.)  
TONI: It was nice of you to give Josie that extra break, so she could go to the doctor with Paulina.

JOE: I wanted to give her the entire day, but she insisted on working.

TONI: I guess she wants to keep as busy as possible

JOE: Well, I can't say I blame her.

TONI: Neither can I. I mean, it's got to be rough, not having Gary right there with her.

JOE: I usually go with Paulina, but we both felt that if I did, it would  
make Josie feel even worse about not having Gary there with _her_.

TONI: What I don't understand is why he couldn't just have that check-up.

JOE: Well, I _had_ planned to have a little talk with Gary.

TONI: What would you have said to him?

JOE: Well, basically, I was going to tell him he was being a jerk. But  
then, the accident happened, and it didn't seem right any more.

TONI: So we've just got to concentrate on making Josie feel better, and pray  
that everything works out.

JOE: I lit a candle in Church, and I'm making a Novena for Josie and Gary.

TONI: Now why doesn't that surprise me?  
FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to Dr. Whelan's examining room. Josie is inside with the doctor, looking very confused.)  
JOSIE: Are you sure?

DR. WHELAN: I'm positive. Mrs. Sinclair, you are definitely not pregnant.

JOSIE: But I took the test twice, to make sure.

DR. WHELAN: Which pregnancy test did you use?

JOSIE: Know-4-Sure.

DR. WHELAN: Oh, didn't you hear?

JOSIE: Hear what?

DR. WHALEN That kit has been recalled. It's defective.

JOSIE: I don't believe this. I was so sure I was pregnant, because not only was that test positive, but I've missed a couple of periods.

DR. WHELAN: Well, that could be for any number of reasons. The important thing is that  
you are perfectly healthy. There's no reason why you couldn't (Phone rings)  
Excuse me; I have to get that. (picks up receiver) Dr. Whelan.

VOICE ON PHONE: You don't know where, and you don't know when.  
FADE OUT  
  
  
SCENE SIX  
(The scene shifts to the squad room of the 2-3, about ten minutes later. Joe and Toni are still standing near the coffeepot. Josie comes in and pours a cup of coffee.)  
  
JOE: No coffee for you, Josie, remember? Didn't Dr. Whelan remind you?

JOSIE: No, she didn't.

JOE: That's strange. She tells Paulina that every time she examines her.

JOSIE: Well, she didn't tell me because it turns out I'm not pregnant after all.

TONI: You're not?

JOSIE: No. The pregnancy kit I used was defective.

TONI: Are you disappointed?

JOSIE: I haven't figured out how I feel. I just wish I'd gone to a doctor before I said anything to Gary. It would have saved so many people  
so much trouble, especially poor little Bonnie Bennet.

JOE: (sighs) One of the hardest things I've ever had to do is tell Dante that his best friend will never walk again.

JOSIE: Could we change the subject, please?

JOE: Sure. I can understand why you don't want to talk about it.

JOSIE: Good, because there's something I have to tell you.

JOE: Just me, or both of us?

JOSIE: I might as well tell both of you. While I was with Dr. Whelan, she got a strange phone call.

JOE: Was it some guy saying , "You don't know where, and you don't know when"?

JOSIE: How did you know?

JOE: I've already gotten some complaint. I've had taps put on several phones, so hopefully we'll be able to trace this creep.

JOSIE: Unless he's making his calls from pay phones.

TONI: How serious do you think this situation is?

JOE: Well, he could be just a prankster. Then again, we may be dealing with a very dangerous person. (raises voice) Everybody, listen up. (Officers stop whatever they are  
doing and look at Joe.) For the past few days, someone has been placing what may be threatening phone calls.

ADAMS: (walking up to Joe) What does the caller say?

JOE: "You don't know where, and you don't know when." Now, I want this guy stopped before  
he actually hurts anybody. Now, what we are going to do first is see how many more people will  
let us put taps on their phones. Then  
FADE OUT  
  
  
  
SCENE SEVEN: CLOSING SCENE

(The scene shifts CARLINO'S, half an hour later. Toni and Josie are there on their lunch break)  
TONI: Remember yesterday, when I told you I hadn't told anyone what really went down in Florida?

JOSIE: Sure, I remember. So, are you ready to talk about it now?

TONI: I think I'd like you to know, but first you've got to promise me something.

JOSIE: What's that?

TONI: That you won't tell Joe.

JOSIE: Why not?

TONI: Because if he finds out what really happened, it could ruin his career.  
FREEZE FRAME


	12. Episode 12

This episode begins where the previous one ended.

SCENE ONE  


(The scene is CARLINO'S. Toni and Josie are seated at a table, talking.)

TONI: Because if he finds out what really happened, it could ruin his career.

JOSIE: I don't get it. How could something that happened in Florida ruin Joe's career?

TONI: (sighs) When I got to that precinct, I met up with someone from the past.

JOSIE: Your past?

TONI: Our past.

JOSIE: Who?

TONI: Well, he was using the name "Claude Randall", but _we_ knew him as

JOSIE: Don't tell me! It isn't... it couldn't be!

TONI: (grimly) Chip Rayburn. I almost quit when I saw him, but then I decided that there was no way I'd let him run me off.

JOSIE: So what happened? And why can't we tell Joe?

TONI: A few weeks after I took over, Chip/Claude came to me and told me all about the corruption at that precinct.

JOSIE: But why would he tell you? Has he changed?

TONI: The only thing about that creep that has changed is his name, if he even had _that_ legally changed. He told me so I wouldn't find out in some other way. And then...  
(Flashback to the police station in Florida. Chip and Toni are talking.)  
TONI: I have to report this.

CHIP: Now you listen, and you listen real good. If you breathe one word of this to anyone, I'll tell what really went down in Bay City, Illinois, back in 1997.

TONI: You mean you'd admit you're a rapist?

CHIP: I've already served my time, remember? So, if you open your mouth, I'll open mine. I'll go public with  
the fact that you and Josie Sinclair used illegal methods to get me to confess, and that Joe Carlino knew about it, and did not report you. You could call that corruption, couldn't you, Toni? Or maybe dereliction of duty?

TONI: The citizens of Bay City remember you as a rapist punk, and they love Joe. So who's going to believe a word you say against him?

CHIP: (cockily) The mayor. Grant Harrison.

(Back to the present.)  
TONI: So you see why I had to look the other way, and not report the corruption?

JOSIE: Yes. If Grant got ahold of that information, he'd have a field day.

TONI: So I kept my mouth shut. For more than two years, I kept my mouth shut.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to Cass Winthrop's law office. Cass, Felicia, and Elaine Bachman are inside, talking.)  
CASS: This nonsense has gone on for months, now, and my client and I want it to stop. Either Ms. du Lac produces incontrovertible proof  
that her so-called journal was online before COUNT ON LOVE was written, or she drops this claim against my client.

FELICIA: I would also like a public apology.

CASS: I agree. My client's reputation as an author has been called into question,to say nothing of her ethics. Therefore, unless Adele du Lac furnishes concrete evidence to support her  
claim, or issues an apology by the end of the week, I will file a countersuit against her in my client's behalf.

ELAINE: A countersuit? Whatever for?

CASS: False accusations, defamation of character, slander... shall I go on?

ELAINE: Very well. I'll see if I can persuade Ms. du Lac to meet with you. I'm sure  
we would all rather settle this amicably, and avoid any unpleasantness.

FELICIA: It's a little late for that. This whole thing has been very unpleasant for me.

ELAINE: Very well. I'll speak with Ms. du Lac, and then I will be in touch with you.

CASS: You have until the end of the week to contact me, and then I'm going ahead with the countersuit.  
FADE OUT  
  
  
SCENE THREE  
(The scene shifts to CARLINO'S. Remy comes out of the kitchen with two bowls of soup, and sets one in front of Toni and the other in front of Josie.)  
REMY: Here you go.

TONI and JOSIE: (together) Thanks. Thank you.

REMY: So, Josie, how are you feeling?

JOSIE: You mean my pregnancy?

REMY: Yes.

JOSIE: Didn't Paulina tell you?

REMY: Tell me what?

TONI: The kit Josie used to test herself was defective.

REMY: You mean? (Gary walks in, unnoticed.)

JOSIE: I'm not pregnant. I never was.

GARY: (approaches table) You're not pregnant?

JOSIE: No, I'm not.

GARY: There is no baby?

JOSIE: No baby.

TONI: Look, I'm going to leave you two alone, because you have a lot to talk about.

REMY: And I've got to get back to the kitchen.

JOSIE: But you haven't even started your soup.

TONI: That's okay. Gary can have it.

(Toni leaves the restaurant. Remy goes into the kitchen)

GARY: (sitting down) Oh, Josie, can you ever forgive me for not trusting you? For not believing in you? In us?

JOSIE: It was my fault, too. I should never have told you I was pregnant until after I saw the doctor, and made absolutely sure.

GARY: I just wish I could go back to that afternoon. If only I had stayed sober, or not gotten into my car afterwards

JOSIE: Remember the Serenity Prayer. "God, grant me the serenity

GARY: to accept the things I cannot change

TOGETHER: the courage to change the things I can, and the wisdom to know the difference.

(Joe walks in and approaches their table.)  
JOE: I say that prayer every day.

GARY: But _you're_ not an alcoholic.

JOE: No, but I think everyone needs the things we ask for in that prayer.

GARY: Josie and I have worked things out.

JOE: Thank God. Now, eat your soup before it gets cold.  
FADE OUT  
  
  
SCENE FOUR: CLOSING SCENE

Two weeks later. It is now April, 2003.

(The scene shifts to Cass Winthrop's law office. Cass and Felicia are inside. It is obvious that they are waiting for somebody.)  
FELICIA: So, after all these weeks, we're finally going to meet Adele du Lac face-to-face.

CASS: I still intend to go ahead with the countersuit unless she issues a public apology to you.

FELICIA: She owes both of us an apology.

CASS: How do you figure that?

FELICIA: Well, she is (looks at her watch) almost half an hour late.

(Door opens, and we see the shadow of a woman wearing a hat with a large brim.)  
WOMAN: (airily) Sorry I'm late, but

CASS and FELICIA: (shocked) YOU??!!  


FREEZE FRAME

  



	13. Episode 13

This episode begins where the previous episode left off.

SCENE ONE  


(The scene is Cass Winthrop's law office. Cass and Felicia have been waiting for Adele du Lac  
to arrive. The door opens, and a woman saunters in. She is wearing a hat with a large brim; we do not see her face.)

WOMAN: (airily) Sorry I'm late, but

CASS AND FELICIA: (shocked) YOU??!!

FELICIA: I don't believe this.

CASS: Would you care to explain what's going on?

WOMAN: Well, don't you think that Adele du Lac is a much better nom de plume than Felicia Gallant?

FELICIA: So _you_ are the elusive Adele du Lac?

ADELE: In the flesh.

CASS: Well, this nonsense is going to stop right now.

ADELE: What nonsense?

CASS: You will either produce your online journal, or drop your accusations against my client.

ADELE: (laughing) Sorry! I deleted my journal so that nobody else could steal from it.

CASS: How convenient.

FELICIA: I have news for you. I don't believe that so-called journal ever existed, Cecile!  
FADE OUT  
  
  
SCENE TWO  
(The scene shifts to Bonnie's hospital room. Bonnie's mother is in the room.)  
MRS. BENNET: The doctors say you'll be going home tomorrow.

BONNIE: Good. This place is boring. I can't wait to get back to school.

MRS. BENNET: (hesitantly) Well, sweetheart, you won't be going back to school for awhile.

BONNIE: Why not?

MRS. BENNET: Well, you were hurt pretty badly.

BONNIE: D-uh! I know I was hurt.

MRS. BENNET: And sometimes, when people are hurt, well, (hesitates)

BONNIE: Well, what, Mommy?

MRS. BENNET: You know that girl, Becky, in the fifth grade?

BONNIE:There's two girls named Becky in the fifth grade; Becky Green... her brother Davy is in my class... and Becky Stevens. She... she's in a wheelchair.

MRS. BENNET: (gently) That's the Becky I'm talking about.

BONNIE: But, Mommy, she can't walk at all! Are you saying I can't walk now?

MRS. BENNET: Bonnie, I want you to try and understand. When you were hit by that car, we (hesitates) we could have lost you.

BONNIE: (eyes and mouth perfectly round) I could have _died_?

MRS. BENNET: (voice trembling) Yes.

BONNIE: Are you saying I can't walk any more? I want to walk, and run, and play! Dante and I were going to  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to Cass Winthrop's law office.)  
CASS: Look, Cecile, I've known you for years, sometimes more intimately than I like to recall, and I agree with Felicia.

CECILE: What do you mean?

CASS: I also don't believe your online journal ever existed.

CECILE: But you have to admit that this was an interesting way for me to return to Bay City.

FELICIA: Interesting?! You trash my reputation as a writer, a reputation I have worked for years to build, and you call it "interesting"?

CECILE: Relax. I will post my retractions as soon as I leave this office.

CASS: Are we supposed to believe that you are actually going to apologize?

CECILE: Trust me. I was just having a little innocent fun.

FELICIA: Innocent?!

CASS: Well, this was a hell of a way to insinuate yourself back into our lives, and, in case you hadn't heard, even if I were interested in you, I am not available.  
  
FELICIA: That's right. Cass is very happily married.

CECILE: I heard. Wasn't there a gorilla at your nuptials?

CASS: Actually, she kidnapped me before my wedding. Sound familiar?

CECILE: Oh, that! That was ages ago. Besides, I'm not interested in you any more.

CASS: Really?

FELICIA: Exactly why are you back in Bay City?

CECILE: Well, about the time that you were getting married, Cass, I was back in Tanquir,  
and I met someone from Bay City, and you could say we became friends.

CASS: And just who is he? Knowing you, I'm almost positive it's a he.

CECILE: It is, and we had some good times together.

FELICIA: Who is this mystery man?

Cecile: (smiling) Grant Harrison.  
FADE OUT  
  
SCENE FOUR  
(The scene shifts to the Carlino living room. Remy is on the sofa. Dante and Ryan Gabriel are on the floor, building a tower with blocks. Ryan Gabriel knocks down tower of blocks and laughs. Dante starts building tower again. Phone rings.)

REMY: I'd better get that. (Walks to phone, picks up receiver.) Hello? (Pause) Yes. (Pause) I'm sorry, they're not in right now. (pause) Well, that might be just the thing for her. (Pause) I know it's  
against the regulations, but I'm sure my Dad can get them to make an exception. After all, he _is_ the police captain.  
FADE OUT  
  
  
SCENE FIVE  
(The scene shifts to Cass Winthrop's law office, twenty minutes later. Cass and Felicia, alone once more, are talking.)  
CASS: As your attorney, and your friend, I think I should be present when you read the retraction.

FELICIA: Then you think she'll really post a retraction?

CASS: Oh, she'll post something. You can count on that.

FELICIA: Please don't say "Count on."

CASS: Sorry. But if she doesn't post a retraction, do you want me to go ahead with the countersuit?

FELICIA: I don't know. It would mean facing her in court.

CASS: And the less time you spend in her presence, the better.

FELICIA: Exactly.

CASS: Well, let's start checking the boards. (Types on computer keyboard.)  
AHA! Listen to this. Adele du Lac journal a hoax. (reads to himself) Oh, NO!

FELICIA: What's wrong?

CASS: (angrily) Look at this.

FELICIA: (reads out loud) "Adele du Lac and her journal do not exist. It was all a hoax. The journal which I claimed that Felicia Gallant plagiarised for her novel, COUNT ON LOVE, also never existed. So, who am I?  
A teenager who was playing a practical joke? Or am I, perhaps, Felicia Gallant herself? Was this entire  
Adele du Lac charade a publicity stunt? You'll never know, will you?" (stops reading) Why, that (breaks off)

CASS: No jury would ever convict you.

FELICIA: But what do we do about this?

CASS: We tell Cecile in no uncertain terms that unless she comes forward and admits that she is the one who perpetrated this so-called hoax, we will bring suit against her, and I'll make sure that it becomes very public.  
FADE OUT  
  
  
  
SCENE SIX  
(The scene shifts to the Harbor Club, about an hour later. Grant and Cecile are at a table,  
facing each other.)  
GRANT: Ah, Tanquir. I have some very fond memories of that place.

CECILE: You and I had some _very_ good times.

GRANT: That we did.

CECILE: Have you ever thought of going back?

GRANT: For a vacation, perhaps, but my home is here in Bay City. Don't forget, I _am_ the mayor.

CECILE: And I was once a queen.

GRANT: I know.

CECILE: And to think that I was once involved with (elaborate, deliberate yawn) Cass Winthrop.

GRANT: Well, as immodest as it sounds, I must say that your taste has improved since then.

CECILE: Yes, it certainly has.  
FADE OUT  
  
  
SCENE SEVEN: CLOSING SCENE  
(The scene shifts to Cass Winthrop's law office. Cass, now alone, is seated on the couch, reading a law journal. Lila, Charlie, and Jasmine walk in.)

CASS: Well, this is great. A visit from my girls.

CHARLIE: Well, it isn't just a visit, Daddy.

JASMINE: Mommy's mad.

CASS: What happened?

LILA: You know that games and puzzles website Charlie likes to visit?

CASS: Which one? There are at least four websites you like, right, Charlie?

CHARLIE: It _was_ my favorite website.

LILA: We always thought it was safe site, but take a look at what Charlie found today.

(Cass and Lila go to computer. Lila types on keyboard)

CHARLIE: See where it says, "KIDS! CLICK HERE FOR A SURPRISE"? Well, I clicked, and

CASS: Let's see what this is...oh my God!

LILA: Can you believe this filth? How could anyone link this garbage to a kids' website?

CASS: I don't know, but there are two things I do know.

CHARLIE: If you're going to say I can't visit that website any more, Daddy, don't worry. I'm not going to look at anything, ever, until you or Mom check it out.

LILA: Smart girl.

CASS: But we can't let the creep who posted that link get away with it. I'm calling Joe.  
FREEZE FRAME  



	14. Episode 14

This episode begins fifteen minutes after the previous one ended.

  
  


SCENE ONE 

  
(The scene is Cass Winthrop's law office. Lila, Charlie, and Jasmine are seated on sofa. Cass,  
Joe, and Josie are looking at the computer.)

JOSIE: That is one of the most disgusting things I've ever seen.

JOE: Why would someone who runs a children's page allow just anybody to post a link?  
If you ask me, that is just plain irresponsible.

CASS: Oh, I agree. I can't stand the thought that my little girl saw this garbage.

CHARLIE: Oh, Daddy, I'm not a little girl.

CASS: You are to me.

JOE: Was there any way trace this creep?

LILA: Just the words WHYDEEKAYUU2, all in caps.

JOE: Well, I'll type it in, and see if anything comes up. (Types on keyboard.)  
Nothing. Well, we'll just have to keep looking.

JOSIE: "Why dee kay, and then two u's and the number two. I wonder what it means.

JOE: It could be some strange code.

JASMINE: What's a code?

CHARLIE: Something that makes you sneeze a lot.

LILA: Very funny.

CHARLIE: It's actually a secret way of saying things or writing things you don't want other  
people to understand.

JOE: I remember a book I liked when I was a kid. It was called ALVIN'S SECRET CODE.

CASS: I remember that one. It was part of the ALVIN FERNALD series.

JOSIE: I think I read every book in the series. My favorite was ALVIN FERNALD: MAYOR  
FOR A DAY.  
<  
CASS: He'd certainly be an improvement over _our_ mayor, but then again, anybody would  
be.

(Joe's cell phone rings.)  
JOE: Carlino (Pause) Hi, Remy. What's up? (Pause) Thank God. Have you told Dante? (Pause)  
I'll see what I can do. (Pause) It might be good for both of them.

FADE OUT  
  
  
  
SCENE TWO

(The scene shifts to the offices of CORY-HUTCHINS PUBLISHING. Carl is at the computer, reading.  
Rachel walks in.)  
RACHEL: I have some very good news. The accusations against Felicia have been  
cleared up.

CARL: Really?

RACHEL: The woman who was calling herself Adele du Lac has come forward, and  
you'll never guess who she turned out to be.

CARL: Who?

RACHEL: Cecile.

VOICE ON COMPUTER: You've got mail!

CARL: Let's see what this is.. (Points and clicks. We see the heading REAL WIFE.) Well, I'll just  
delete this.

RACHEL: Why did you do that?

CARL: Because it was spam.

FADE OUT  
  
  
  
SCENE THREE

(The scene shifts to BCUH, twenty minutes later. Joe and Dante approach Bonnie's room.)  
JOE: Do you want me to go in with you?

DANTE: (thoughtfully) No, it's okay. I know how to talk to Bonnie. She's my  
best friend.

JOE: But you remember what I told you, right?

DANTE: Sure, Daddy. I won't talk about what she can't do.

JOE: All right son. Go on in. (Dante walks into Bonnie's room. Bonnie's mother is still there. Bonnie looks up.)

DANTE: Hi, Mrs. Bennet. Hi, Bonnie.

MRS. BENNET: Hello, Dante. Did your Daddy bring you?

DANTE: Uh huh. He's outside.

MRS. BENNET: I think I'll go talk to him. Will you be all right by yourselves for a  
few minutes?

DANTE: Sure we will, won't we, Bonnie?

BONNIE: (sighs) I guess. (Mrs. Bennet leaves the room.)

DANTE: I'm glad you're okay, Bonnie.

BONNIE: I'm not okay. I can't walk.

DANTE: I know. Daddy told me. But we can still play together.

BONNIE: How? How can I play if I'm in a wheelchair?

DANTE: Well, there's wheelchair basketball.

BONNIE: But I'm no good at throwing a basketball. I'm good at running. I mean  
I _was_ good at running.

DANTE: I bet there's still lots of things we can do together.

BONNIE: Like what?

DANTE: Like this. (Sings and makes gestures) The itsy bitsy spider (Bonnie joins in; they do  
the entire song) See? I told you there were still things we could do together.

BONNIE: But will you still want to play with me when I'm in a wheelchair, and you can still walk, and run?

DANTE: Of course I will. You're my best friend, remember? I'll play with you every day, and that's a promise. 

FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to the offices of CORY-HUTCHINS PUBLISHING. Rachel is no longer there.  
Carl is on the phone.)

CARL: I mean it, Lydia. Don't you ever pull a stunt like that again. (Pause) No, I will not meet you.  
(Pause) That is out of the question (Pause) You wouldn't dare. (Pause) Very well, but only on one  
condition. (Pause )If I give you what you want,I expect you to give me what _I_ want.  
FADE OUT  
  
  
AUTHOR'S NOTE:  
SCENE FIVE: CLOSING SCENE  
TWO HOURS LATER  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside,  
talking.)  
JOSIE: I don't know what's worse, the telephone stalker or the creep who's sending porn to children's websites.

JOE: I just want to put a stop to both of them, but protecting children from this garbage comes first.

JOSIE: If we could just figure out what WHYDEEKAYUU2 means.

JOE: Y, D, and K could be somebody's initials, but U U? Why isn't it spelled out like the word YOU, twice?

JOSIE: And what does the number two at the end mean? (thinks) Wait a minute!

JOE: Josie, what is it?

JOSIE: I think I know what WHYDEEKAYUU2 means!  
FREEZE FRAME


	15. Episode 15

This episode begins on the day  
the previous episode takes place.

SCENE ONE 

  
(The scene is THE JASMINE GARDEN,* a recently-opened Chinese restaurant. Grant and Tito are sitting at a table,  
talking in low voices.)  
GRANT: So, have you made any headway with Sofia Carlino?

TITO: A little. I got her to agree not tell (Pause) not to tell anyone that I'm back.

GRANT: And just how did you convince her to keep this news from her family?

TITO: I sort of suggested that it would just make them unhappy if they knew. But I've got  
to tell you, it's hard trying to connect with her while I'm avoiding everyone else.

(A waiter approaches the table)

WAITER: (to Grant) It is a privilege to have you here, Your Honor.

GRANT: Thank you.

WAITER: Are you ready to order?

GRANT: Yes. I'd like egg drop soup, and moo shu pork.

WAITER: (writing down order) Very good. (to Tito) And what would you like?

TITO: I'll have wonton soup, chicken chow mein, and spareribs.

WAITER: (writing on pad) I'll have your soup in a few minutes.

GRANT: Excellent. (Waiter walks away.)

TITO: Do you still think it was a mistake for me to tell Sofia that I became a Catholic while I  
was in prison?

GRANT: Yes. What you should have done is let Sofia think that you were _interested_  
in Catholicism.

TITO: Do you mean I should have let her think she was converting me?

GRANT: Precisely.

TITO: Well, it's too late now.

GRANT: Maybe not. There might be a way to rectify your mistake.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside, talking.)  
JOE: So you've figured out what WHYDEEKAYUU2 means?

JOSIE: I think so. I think the words WHY, DEE, and KAY stand for the letters Y, D, and K.

JOE: And the letter U typed twice could stand for the letter W.

JOSIE: And the number two makes it YDKW twice.

JOE: And that would mean "You don't know where, and you don't know when."

JOSIE: So the telephone stalker, and the creep who's been sending porn to children's websites  
are one and the same.

JOE: It sure looks that way. (sighs) You know, it's sad.

JOSIE: What is?

JOE: Here is someone who is good at making puzzles... someone who could be entertaining  
and educating children, instead of trying to poison their minds.

FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to CARLINO'S. Paulina (who is obviously pregnant) and Dante are at a  
table, eating.)  
PAULINA: So you saw Bonnie?

DANTE: Yes, Mommy. She was sort of sad.

PAULINA: Well, you know, a sad thing happened to her.  
DANTE: I know. She can't walk now. But she's still my best friend.

(Remy comes in, wheeling Ryan Gabriel in his stroller,and approaches the table.)  
REMY: We had such a good time at the park.

DANTE: (to Ryan Gabriel) Did you go on the swings?

RYAN GABRIEL: (nods his head) Es. Go on s'ings.

DANTE: I bet you're hungry.

RYAN GABRIEL: Not hundry. S'eepy.

PAULINA: Did he eat?

REMY: Yes. I took along a peanut butter sandwich and a banana, and some apple juice.

RYAN GABRIEL: I s'eepy!

REMY: Should I take him home and let him have a nap?

PAULINA: Yes (leans over and kisses Ryan Gabriel) We'll be home soon.  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to THE JASMINE GARDEN. Grant and Tito's food has been served.)  
GRANT: So you understand the plan?

TITO: Perfectly. I act like I'm sorry about having lied, and I convince Sofia that I really  
do want to become a Catholic.

GRANT: No, you want to learn more about Catholicism before you decide. Let her think  
she has a hand in your conversion.

TITO: Wouldn't it be easier just to tell her who I really am?

GRANT: It would be simpler, but not best. I want the revelation to be as public as possible, so, when  
the time is right, I will hold a press conference and

FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are still inside.)  
JOSIE: You know, I've been thinking about this telephone stalker.

JOE: What about him?

JOSIE: I don't think he's really dangerous. Most of them aren't, you know.

JOE: But some of them are.

JOSIE: Oh, come on. It's been weeks, and all this guy has done is make threats. He hasn't  
attacked anyone yet.

JOE: And _that_ is the operative word: " _yet_."

JOSIE: Still and all, I'll bet it would take just one cop to bring him in.

JOE: Josie, you're not getting any ideas, are you?

JOSIE: (a bit too innocently) Ideas? Like what?

JOE: I think you know exactly what I'm talking about, and, Josie, I want you to promise  
me that you will not go after this guy or any other perp on your own.

JOSIE: How did you know (breaks off in middle of sentence)

JOE: I know you, Josie, and I've seen that look on your face before. Now, do  
you promise?

JOSIE: I still think

JOE: (sternly) Do you promise?

JOSIE: (sighs) Yes, sir. I promise I won't go after this guy on my own.  
FADE OUT  
  
  
  
SCENE SIX  
Ten days later  
It is now May, 2003

(The scene shifts to Josie and Gary's dining room. Josie and Gary are just  
finishing breakfast.)  
GARY: I can't get Bonnie Bennet out of my mind.

JOSIE: I know, but at least she's finally out of the hospital. Joe told me that Dante promised to  
play with her every day.

GARY: He's a good kid.

JOSIE: Yes, he is.

GARY: I'd give anything to have a little boy like that, but then, a kid deserves better than  
to have a drunk for a father.

JOSIE: Don't say that. You are not a drunk.

GARY: Then what am I? Don't forget, my father was a drunk.

JOSIE: And he was also abusive. You are a human being who made a mistake, but you are  
definitely not abusive.

GARY: Are you sure? Because when I thought you had cheated on me, I was angry enough to

JOSIE: But you didn't, Gary.

GARY: All right, but what if we had a child and I turned out to be an abusive father?

JOSIE: You wouldn't.

GARY: Josie, when my father abused us, he was drunk. Now how do I know I wouldn't hurt a  
child of ours if I got drunk?

JOSIE: I know you wouldn't.

GARY: But I've already hurt a child.

JOSIE: It was an accident. You could never do such a thing on purpose.

GARY: How can you be so sure?

JOSIE: Because I know you, Gary. (Phone rings.)

GARY: I'll get it. (gets up, picks up phone) Hello? (pause) Cameron! Hey, bro! (Pause)  
Do you really think we should take her case? (Pause) All right. I'll see you in a little while.  
(Hangs up.)

JOSIE: You're going out?

GARY: Yes. (kisses her) I'll see you tonight. (Gary leaves the house. Josie opens the newspaper and  
starts working on the crossword puzzle. Phone rings. Josie picks up the receiver)

JOSIE: Hello? (Screen splits to show the shadow of a man on another phone.)

MAN: I'm ready to turn myself in.

JOSIE: Who is this?

MAN: You don't know where, and you don't know when.

JOSIE: Are you on the level?

MAN: Yes. I want you to come and get me.

JOSIE: After all this time? How come? And why can't you just come down to the precinct, and turn yourself in?

MAN: Because they may not believe I'm the real caller unless I'm caught in the act.

JOSIE: So you want to turn yourself in, but first you have to be caught in the act?

MAN: Well, that would make the arrest stick, wouldn't it? Now I'll tell you where and when.

JOSIE: All right.

MAN: There's just one thing, Detective.

JOSIE: What's that?

MAN: You come alone. No backup.

FADE OUT  
  
SCENE SEVEN: CLOSING SCENE  
(The scene shifts to Foster Park. Sofia is sitting on a bench, reading a magazine. Tito approaches)  
TITO: I've been looking for you.

SOFIA: (warily) Why?

TITO: There's something I need to get off my chest.

SOFIA: Then talk to a priest.

TITO: (sitting down) I can't.

SOFIA: Why not?

TITO: I just can't, that's all.

SOFIA: There's nothing so bad that you can't talk to a priest about it. Didn't the prison chaplain  
tell you that?

TITO: No, because...(hesitates) because I never talked to him.

SOFIA: Are you telling me you lied about becoming a Catholic?

TITO: (looks down) Yes, but

SOFIA: (gets up) You used my religion, which is very important to me, to try to get close to me?!

TITO: Well, yes, but

SOFIA: You are one of the lowest people I've ever met.

TITO: But I just want

SOFIA: You want what? You want to say you're sorry? Well, I don't want to hear it.

TITO: Come on, can't you just

SOFIA: Just leave me alone. (starts walking away)

TITO: (desperately) Oh, come on, don't be that way, Aunt Sofia! (claps his hand over his mouth.  
FREEZE FRAME

*The name of the restaurant has no connection  
to the character of the same name.


	16. Episode 16

This episode begins where the previous episode ended.

SCENE ONE  
(The scene is Foster Park. Tito is standing with hand over his mouth. Sofia, who is walking away, turns around.)

SOFIA: What did you say?

TITO: Nothing.

SOFIA: It wasn't nothing. You called me "Aunt Sofia," and I want to know why.

TITO: It just slipped out.

SOFIA: Something like that doesn't just slip out.

TITO: This is why I wanted you to get to know me first.

SOFIA: So you could pretend I'm your aunt? I know you're not Paulina's son, remember?

TITO: This has nothing to do with your sister-in-law. By all rights, my last name should be Carlino!  
  
  
SCENE TWO  
(The scene shifts to Rachel's studio. Rachel is working on a sculpture of a mother lion protecting her cubs. Carl walks in)  
CARL: That's coming along nicely.

RACHEL: I don't know about that. I've been working on this sculpture for weeks, and it still doesn't seem quite right to me.

CARL: Might I make a suggestion, love?

RACHEL: Of course.

CARL: This is a mother lion protecting her young. Now, imagine that someone is threatening _your_ children.

RACHEL: (fiercely) If I had to, I would kill to protect them.

CARL: Did you hear yourself just now? You became absolutely fierce at the mere thought of anyone  
threatening your children.

RACHEL: You're right, I did.

CARL: So what you want to do is give that same fiercely protective maternal instinct to your mother lion.

RACHEL: And in order to do that, I just have to become that mother lion.

CARL: Precisely. Put yourself into it. Isn't that the way you do your best work?

RACHEL: Now that I think of it, it is.  
FADE OUT  
  
  
SCENE THREE  
(The scene shifts to Josie and Gary's house. Josie is on the phone.)  
JOSIE: If you really want to turn yourself in, then why do you care if  
I have backup?

MAN'S VOICE: Because I want to turn myself in to you, and nobody else. In fact, I'll make sure that you catch me in the act.

JOSIE: And how would I be sure to catch you?

MAN: Easy. You'll come at exactly the time I tell you, when you get there, you'll start whistling.

JOSIE: So I'm supposed to let you know I'm there, so you can commit the crime?

MAN: And then you arrest me. It's as simple as that.

JOSIE: Just what sort of game are you playing?

MAN: You could call it "Cops and Robbers," except there's only one cop, and I'm not a robber.

JOSIE: All right. Tell me where and when you want me to come, but I'm not promising to show up. I'll have to  
think about it.

MAN: The docks, at two-thirty this afternoon.

JOSIE: How will I recognize you?

MAN: I'll be wearing a brown jacket and a brown Stetson hat, and I'll be talking into a cell phone. Don't forget:  
the docks at two thirty. (hangs up)

JOSIE: (thinking) Great. Just great. If I want to bring this guy in, I have to do it on my own, and if I act  
on my own, I don't want to think about what Joe will say. Then again, how can I just let this creep walk when I have the chance to stop him?  
FADE OUT  
  
  
SCENE FOUR  
(The scene shifts to Foster Park. Sofia and Tito are having a heated discussion.)  
SOFIA: Your name should be Carlino? No way.

TITO: I have proof.

SOFIA: Like what? Fake DNA reports, like you used last time?

TITO: No. Someone found my mother's old diary.

SOFIA: Who found it?

TITO: That doesn't matter. She was involved with your brother.

SOFIA: Involved? You mean...

TITO: They were lovers.

SOFIA: I don't believe you.

TITO: I've seen the diary.

SOFIA: Well, I won't believe it until I see that diary for myself.

TITO: Fine. Tell me where I should bring it, and when.

SOFIA: Java Underground in Oakdale, in three days. I need time to prepare for this, just on the off chance that you're telling the truth this time. But in the meantime, you stay  
away from my family.  
FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to reveal a split screen. Carl and Lydia are talking on the phone.)  
CARL: Now you listen to me, Lydia. I gave you what you wanted, and I hate myself  
for doing so. Now, the least _you_ can do is to keep your part of our agreement.

LYDIA: No, I've changed my mind. There will be no divorce. We are married till death us do part.

CARL: At this moment, the thought of your death is rather pleasant.

LYDIA:I'll ignore that. Now, does the woman who thinks she is your legal wife know anything  
about me?

CARL: You know she doesn't. If she did, she would fight you tooth and nail. Think of a lioness protecting her family. Compared to Rachel, that lioness would seem like a kitten.  
FADE OUT  
  
  
  
SCENE SIX  
(The scene shifts to the kitchen at CARLINO'S, several hours later. Paulina is inside.  
Joe walks in, looking worried.)  
PAULINA: Is something wrong?

JOE: I hope not. Look, was Josie in here today, Blue Eyes?

PAULINA: No. Why?

JOE: She never came back from her lunch break.

PAULINA: That's not like her. Maybe she ate something that disagreed with her and she went home to bed.

JOE: Without letting me know?

PAULINA: She might have felt too sick to call.  
  
JOE: No, I think something has happened. (Takes out police radio transmitter.)  
This is Captain Carlino. All units be on the lookout for Detective Josie Sinclair.  
She may be in danger. She never came back from her lunch break. Over. (Puts away transmitter)

PAULINA: Don't worry. They'll find her.

JOE: Or Adams, Johnson, and I will. (Clock on wall reads 2:29)  
  
  
  
SCENE SEVEN: CLOSING SCENE  
(The scene shifts to the docks. Man in brown jacket and brown Stetson hat is  
talking in a low voice on a cell phone. We cannot hear what he is saying. Josie approaches very quietly.  
She looks around, sees man, comes up behind him, and starts whistling.)  
MAN: (into phone) You don't know where, and you don't know when.

JOSIE: FREEZE!  
(Man turns around. We now see that he is Chip Rayburn.)  


FREEZE FRAME


	17. Episode 17

This episode picks up where the previous one left off.

SCENE ONE

(The scene is the docks. Josie has just come face-to-face with Chip Rayburn, and she is visibly shaken.)

CHIP: So we meet again, Detective Sinclair.

JOSIE: (recovering herself) You are under arrest. The charge is making a threatening phone call. You have the right

CHIP: I know that speech, remember? Just put on the handcuffs, and make the arrest. (holds wrists out)

JOSIE: (slightly suspicious) As easy as that?

CHIP: I told you I was ready to turn myself in.

(Joe, Adams, and Johnson (an African-American in his early thirties) approach.)

JOE: What's going on here?

CHIP: I thought I said "no backup."

JOE: Josie, will you tell me what's going on?

ADAMS: (aside, to Johnson) Something tells me Josie is in big trouble.

JOSIE: Joe, guess who our phone stalker turned out to be.

CHIP: I called her and told her I was ready to turn myself in.

JOE: Well, Josie, you may as well finish making the arrest, but you and I are going to talk about this.

JOHNSON: (aside, to Adams) You're right. She's in trouble.  
FADE OUT  
  
  
  


SCENE TWO

  


(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are having a late lunch together.)

GRANT: I love the service here.

CECILE: So do I. The waiters are prompt, and courteous.

GRANT: And the food is excellent.

CECILE: Yes, but I like Italian once in awhile.

GRANT: Well then, we'll have to make a trip to Chicago. There are some wonderful Italian restaurants there.

CECILE: Why can't we just go to CARLINO'S?

GRANT: I refuse to eat in any restaurant owned by that insufferable Captain Joseph Carlino. He makes himself out to be such a saint, but believe me, he's not as good as some people think. I've tried, several times, to remove him as police captain.

CECILE: But you couldn't make it stick?

GRANT: Unfortunately, no. But some day, some day...  
FADE OUT  
  
  
  


SCENE THREE

(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside, talking. The blinds are closed.)

JOE: So tell me exactly what happened, Josie.

JOSIE: All right. The phone stalker called me at my house this morning and said he wanted to turn himself in.

JOE: And you didn't see fit to tell me?

JOSIE: He said to come alone.

JOE: And you listened to him? Josie, didn't you know I would have provided you with all the plain clothes back-up you needed?

JOSIE: I know you would have.

JOE: And didn't you _promise_ me that you wouldn't go after this phone stalker or any other perps on your own?

JOSIE: Yes, but

JOE: But what, Josie? You disobeyed a direct order, and you broke your promise.

JOSIE: But I didn't know it was Rayburn.

JOE: No, you couldn't have known that. None of us even knew that he was out of prison (Josie doesn't say a word) and, believe me, I'm going to find out why. But tell me one thing, Josie.

JOSIE: What?

JOE: Would it have made any difference if you _had_ known that it was Rayburn?

JOSIE: To be perfectly honest, Joe, I don't know. But, like I said, I didn't know it was Rayburn.

JOE: That's just it, Josie. You didn't know who the caller was, you didn't know if he had a weapon, and you didn't know if he had anyone with him. For all you knew, you could have been walking into an ambush.

JOSIE: Well, there wasn't any ambush, and I made a clean arrest, didn't I?

JOE: Yes, but you still haven't given me a good reason for what you did.

JOSIE: Well, maybe I was trying to prove something.

JOE: Like what, Josie? What did you have to prove?

JOSIE: That I can handle perps on my own. That I don't _need_ any backup.

JOE: (grimly) I know _exactly_ what you need.

JOSIE: What?

JOE: This! (Puts arm around Josie's waist and administers a tremendous swat to the seat of her pants.)  
FADE OUT on Josie's shocked expression.  
  
  
  
SCENE FOUR  


(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are still eating.)  


CECILE: Why are you so determined to remove Captain Carlino?

GRANT: I told you. He is arrogant, and he has no respect for me, even though I am the mayor, and therefore his superior.

CECILE: And he refuses to acknowledge that?

GRANT: Yes, but someday he will wish he had treated me with the respect I deserve.  
FADE OUT  
  
  
  
SCENE FIVE: Closing scene  


(The scene shifts to Joe's office at the 2-3. Joe and Josie are still inside. Josie is rubbing the seat of her pants. Joe brushes his hand across his eyes.)

JOSIE: (voice trembling, lips quivering) I can't believe you did that.

JOE: (firmly)It was for your own good, and I would have done it no matter _who_ the guy you went to meet had turned out to be.  
  
JOSIE: Really?  
  
JOE: Absolutely. Josie, don't you realize that your actions today could have gotten you killed? And if that had happened, God forbid, how would I have told Gary?

JOSIE: (remorsefully) You're right. I shouldn't have acted on my own. (Hesitates.) Are you going to suspend me, or put me on desk duty?

JOE: (quietly) No, Josie.

JOSIE: Then what are you going to do?

JOE: I'm not going to do anything.

JOSIE: (surprised) You're not?

JOE: You've already been punished. Your slate is clean.  
  
(Joe takes Josie in his arms and strokes her hair. Josie lays her head on Joe's shoulder.)  
  
(Brief dissolve, and then the word A FEW MINUTES LATER appear on-screen. The door to Joe's office opens; Joe and Josie come out. Chip Rayburn is handcuffed to a desk. There is a telephone on the desk.)  


CHIP: I'd like to make my phone call now.

JOE: All right. (Unlocks handcuff) You can call your attorney.

CHIP: (picks up receiver, presses buttons) I'm not calling an attorney.

JOSIE: Then who...

CHIP: (speaking into phone) I'd like to speak to Mayor Harrison, please. (pause) Well, I have some information about the Bay City Police Department that should interest him.  
FREEZE FRAME

  



	18. Episode 18

This episode takes begins on day the previous episode takes place.

SCENE ONE

  


(The scene is the squad room at the 2-3. There are officers working at their desks, officers milling around, officers talking to each other; it's a busy scene. Chip is on the phone. Joe and Josie are standing nearby.)

CHIP: That's right, Your Honor. Captain Carlino covered up wrongdoing on the part of two of his officers . (pause) Of course I'm sure. I was the victim. (Joe and Josie exchange "this is all we need" looks.) I thought you would. I'll see you then.(Hangs up. Toni walks in).

TONI: What the Hell are you doing here, Rayburn?

CHIP: (leering) Ruining their careers, just like I ruined yours, _ex_ -Captain Burrell.

JOE: What's he talking about? How did he ruin your career, Toni?

TONI: We... we met again... in Florida.

JOE: You knew he was out of prison?

TONI: (looking at floor) Yes, sir.

JOE: And you didn't tell me?

TONI: No, sir.

JOE: I think we'd better go into my office.  
FADE OUT

  


SCENE TWO

  


(The scene shifts to the Bennets' house. Dante and Bonnie are sitting at a table (Bonnie in a wheelchair), drawing pictures. Rita Bennet is reading a newspaper)

DANTE: (shows Bonnie his drawing) See? It's a horse.

BONNIE: You draw real good.  


DANTE: So do you, and you're good with clay, too.

BONNIE: I love to work with clay.

DANTE:Well, maybe, when you grow up, you'll be a sculptor, like my Grandma Rachel.

BONNIE: I think I'd like that.

RITA: Would the two of you like some milk and cookies?

BONNIE: Yes, please.

  


DANTE: Yes, please  
FADE OUT

  


SCENE THREE

  


(The scene shifts to Joe's office at the 2-3. Joe and Toni are inside, talking.)

TONI: So that's why I had to go along with Rayburn.

JOE: Because he threatened to ruin my career if you didn't.

TONI: And I just couldn't let that happen, after the way I almost ruined your career once before.

JOE: That's in the past.

TONI: I never should have reported my suspicions. After all, you didn't report Josie and me when _we_ broke the rules.

JOE: When you went after Rayburn.

TONI: And now he's back. Talk about ironic! But am I in trouble for not telling you he was out?

JOE: No, Toni. You were trying to keep him from ruining my career. But one thing I don't understand is why you kept turning down cases after you came back.

TONI: Because after I messed up so badly in Florida, I wasn't sure I could handle police work any more.

JOE: Listen, Toni, next time anyone tries to blackmail you in any way, I want you to come to me and tell me. All right?

,  
TONI: Yes sir. I will.

JOE: And the next time I have a case for you, don't turn it down.

TONI: No, sir. (Joe opens the door,and he and Toni go back into the squad room. Grant is standing near a handcuffed Chip. Josie stands nearby.)

GRANT: Captain Carlino, Mr. Rayburn has just informed me that he was the victim of brutality on the part of two of your officers.

TONI: So now he's _Mister_ Rayburn.

CHIP: Burrell and Sinclair hung me out of a sixth-floor window, and threatened to throw me under a train. And I'd also like to charge Detective Sinclair with false arrest.

JOSIE: False arrest? When?

CHIP: Today.

JOSIE: I caught you red-handed making a threatening phone call!

CHIP: Oh, really? Tell me something. How could I make any kind of a call on a (Takes out phone) TOY phone?

JOSIE: You set me up!

JOE: What about all the other calls?

CHIP: Maybe I didn't make those other calls.

GRANT: Well, Captain Carlino, what do you have to say about these charges?

JOE: Any alleged wrongdoing would have occurred _before_ you were elected mayor. So you have nothing to say about it.

GRANT: We'll see about that.  
FADE OUT

  


SCENE FOUR

  
Three days later

(The scene shifts to Java Underground in Oakdale. Tito and Sofia are at a table. Sofia is reading a diary. She closes it, looking troubled. We see that it is marked LENORA MARTIN. PRIVATE.)

TITO: Well?

SOFIA: All right,I remember when Joe was involved with this girl, but are you sure she was your mother?

TITO: I'm positive. I had extensive research done.

SOFIA: (skeptically) While you were in prison?

TITO: I had contacts.

SOFIA: Like who?

TITO: Never mind who, Aunt Sofia.

SOFIA: Don't call me that. This journal doesn't prove a thing.

TITO: It proves that your brother fathered a child when he was sixteen.

SOFIA: Maybe it does, and maybe it doesn't. Now, can you do me one favor?

TITO: Depends on the favor.

SOFIA: Don't say anything about this to anybody until I have a chance to talk to Joe.  
FADE OUT

SCENE FIVE: CLOSING SCENE

  


(The scene shifts to Police Comissioner Walters' office. Grant and Commissioner Howard Walters, a stocky man in his mid-thirties with salt-and-pepper hair are inside, talking)

  


WALTERS: This is very interesting, Your Honor. What do you want me to do about it?

GRANT: I want a thorough investigation into this matter.

WALTERS: How thorough?

GRANT: As thorough as you and Internal Affairs have to be in order to remove Captain Joseph Carlino from the Bay City Police Department.  
FREEZE FRAME  



	19. Episode 19

>This episode takes place one week after the previous one ended. It is now June, 2003.

  


SCENE ONE

  


(The scene is Foster Park. Sofia and Tito are seated on a bench, talking.)

TITO: So have you told Joe?

SOFIA: No, not yet.

TITO: Why not? Don't you think he has the right to know that I am his son? And don't I have the right to my family?

SOFIA: Joey doesn't need this right now. He's got enough to deal with.

TITO: Like what?

SOFIA: Like being under investigation.

TITO: (surprised) What for?

SOFIA: Chip Rayburn claims that two of Joe's officers used illegal means to get him to confess to rape back in 1997.

TITO: And he waited almost six years to make his accusations?

SOFIA: And Grant Harrison just couldn't wait to notify Commissioner Walters.

TITO: But is the accusation true?

SOFIA: I don't know. Joe isn't saying one way or the other.

TITO: Is he protecting himself, or the two officers?

SOFIA: Knowing my brother, he's probably trying to protect the officers.

TITO: And they were never disciplined?

SOFIA: First of all, we don't know if there actually was any wrongdoing. And even if there was  
FADE OUT  
  
  
SCENE TWO  
(The scene shifts to the Cory-Hutchins mansion. Carl is talking on the phone)  
CARL: No, Lydia. I refuse to give in to any more of your demands. (Pause) No, so far she hasn't found out. (Pause) For the last time, Lydia, leave me alone. (Rachel walks in, unnoticed by Carl.) I've betrayed my marriage enough as it is. (Hangs up.)  
  
RACHEL: Betrayed your marriage how?  
  
CARL: How long have you been standing there?  
  
RACHEL: Betrayed your marriage how? I want an answer, Carl.  
  
CARL: I can't tell you.  
  
RACHEL: I want the truth, Carl. Are you having an affair?  
  
CARL: Not exactly.  
  
RACHEL: What do you mean, not exactly?  
  
CARL: I really can't say anything more. You'll just have to trust me.  
  
RACHEL: That's difficult to do when I've just heard you say that you've betrayed our marriage. Carl, we have so much history together.  
  
CARL: Including some I'd just as soon forget.  
  
RACHEL: I fought and fought to get my family to accept you, to believe that you had changed.  
  
CARL: And now, do you regret that?  
  
RACHEL: Should I?  
  
CARL: (hesitates) No, love.  
  
RACHEL: Why did you hesitate? Is there something I should know?  
  
CARL: I can honestly tell you that there is nothing you should know.  
  
RACHEL: It sounds to me as if you are hedging. Now, I think I have a right to know what's going on.  
FADE OUT  
  
SCENE THREE  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside, talking)  
JOSIE: Can they really fire you?  
  
JOE: Don't worry about it, Josie.  
  
JOSIE: How can I help worrying? This is all my fault.  
  
JOE: How is it your fault, Josie? I'm the one who made the decision not to report you and Toni that time.  
  
JOSIE: But if I hadn't gone after the phone stalker the other day...  
  
JOE: Stop right there, Josie. If you had known that Chip was setting you up so he could complain about me to Grant, what would you have done?  
  
JOSIE: I would have told you, and I wouldn't have gone after him.  
  
JOE: Exactly. Now, remember when you went to Quantico for training?  
  
JOSIE: Sure, I remember.  
  
JOE: And then they partnered you with Cameron, and warned you not to tell anyone.  
  
JOSIE: Including you. They said that if I told you, they'd ruin my career as a cop.  
  
JOE: And they knew he was Gary's brother, and they kept you in the dark about that.  
  
JOSIE: You didn't think much of that.  
  
JOE: No, I didn't. If I had known that was how the Feds would treat you, I never would have let you go to Quantico.  
  
JOSIE: But you couldn't have known.  
  
JOE: Exactly. And you couldn't have known that the phone stalker was Rayburn, and that it was all a trap.  
  
JOSIE: But when you let me go to Quantico, you weren't doing anything wrong. When I went to the docks by myself, I was breaking the rules.  
  
JOE: And that is the only thing you are responsible for, Josie.  
  
JOSIE: No, it isn't.  
  
JOE: What do you mean?  
  
JOSIE: (hesitantly) I knew Rayburn was out of jail.  
  
JOE: How long have you known?  
  
JOSIE: A few months.  
  
JOE: Toni told you?  
  
JOSIE: Yes, sir.  
  
JOE: She told me the whole story, but she didn't tell me that _you_ knew.  
  
JOSIE: Am I in trouble for not telling you?  
  
JOE: No.  
  
JOSIE: It seems like most of your problems on the job have been because of me.  
  
JOE: No, Josie. I'd have to say that most of my problems are caused by corrupt judges, a commissioner who is almost as big a jerk as Raines was, and... the mayor.  
FADE OUT  
  
  
SCENE FOUR  
(The scene shifts to Foster Park. Tito and Sofia are still talking.)  
  
TITO: So you're not going to tell him?  
  
SOFIA: This isn't a good time. You know how Joe feels about you.  
  
TITO: He hates my guts.  
  
SOFIA: Can you blame him? You pretended to be Paulina's long-lost kid, and she almost went to prison to protect you. So I don't think Joe is going feel like welcoming you into the family with open arms.  
  
TITO: But I already _am_ in the family, like it or not.  
  
SOFIA: I don't want Joe to have to deal with this right now. I told you, he's got enough to handle as it is.  
  
TITO: So, you want to protect your big brother from the truth?  
SOFIA: Joey is always protecting other people. Maybe it's about time someone protected him.  
  
TITO: Would you rather he heard it from someone else?  
  
SOFIA: Like who?  
  
TITO: The truth is, I'm not the one who had all that research done.  
  
SOFIA: Then who did?  
  
TITO: Grant.  
  
SOFIA: And?  
  
TITO: He had the research done for him while he was in prison, and that's how he found out that I am Joe's son.  
  
SOFIA: Look, I've got to check this out. You give me some of your hair, and I'll get some of Joe's.  
TITO: Here you go. (pulls out a few strands of his hair, winces.) Now, can I trust you to use Joe's hair and not someone else's?  
  
SOFIA: (takes hair, puts it in wallet) You've got a nerve talking about trust. Weren't you the one who substituted your hair for Remy's?  
  
TITO: (changing subject) There's one more thing I've gotta ask you to do for me.  
  
SOFIA: What?  
  
TITO: Don't let Grant know that you know.  
  
SOFIA: I don't talk to Grant. But why don't you want him to know that I know?  
  
TITO: Because Grant was planning to reveal it, himself. He called it dropping the bombshell.  
  
SOFIA: And he'd reveal it in a way that would make Joe look really bad.  
  
TITO: And then the words "Aunt Sofia" slipped out, and I couldn't tell Grant that I'd blown it.  
  
SOFIA: So now you want me to tell Joe before Grant does? Why?  
  
TITO: Because he'll believe you a lot sooner than he'll believe Grant. And maybe (hesitates)  
  
SOFIA: Maybe what?  
  
TITO: Maybe, deep down, I wish I'd known a lot sooner that Joe is my father.  
FADE OUT  
  
  
SCENE FIVE: CLOSING SCENE  
(The scene shifts to the Cory-Hutchins mansion, several hours later. Rachel is no longer there. Carl is on the phone.)  
CARL: Eight o'clock one week from tonight at The Rosenthal Hotel. Room 1405. (Pause)Because I can't get away before then. (pause) You'll be there? (Pause) No, she doesn't suspect a thing.  
FREEZE FRAME  



	20. Episode 20

  
  
This episode begins a few hours after the previous episode ended.

SCENE ONE  
(The scene is Josie and Gary's bedroom. Josie and Gary are in bed, talking.)  
JOSIE: I can't stand it that Joe is in all this trouble because of me. I just wish I could do something to fix things.

GARY: Like what?

JOSIE: Like finding something in Grant's past that he doesn't want anybody to know about.

GARY: Suppose you found something? What would you do?

JOSIE: Threaten to go public with it unless he drops all charges of dereliction of duty  
against Joe.

GARY: You know what Joe would call that, don't you?

JOSIE: (sighs) Blackmail.

GARY: And what would he do if he found out?

JOSIE: He'd probably have my hide.

GARY: Never mind your hide. He'd have your badge!

JOSIE: I guess that wasn't such a good.. wait a minute!

GARY: What are you thinking?

JOSIE: You and Cameron don't work for Joe.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to a nightclub in Chicago. Waltz music is playing. Grant and Cecile  
are dancing, and Cecile looks rather possesive. A woman stands in the shadows and watches them.)  
WOMAN: (under her breath; voice unrecognizable) Well, I'll just have to do something about that.  
FADE OUT  
  
  
  
SCENE THREE  
The next morning.  
(The scene shifts to Josie and Gary's dining room. Josie and Gary are eating  
breakfast.)  
JOSIE: I've been thinking.

GARY: About Cameron and me digging up some dirt on Grant?

JOSIE: Yeah. I don't think it's such a good idea after all.

GARY: How come?

JOSIE: Because I just remembered that there _is_ something in Grant's past, but... it  
involves Mama.

GARY:Yes, you told me about that, but I had forgotten.

JOSIE: Me, too, but now that I remember, I don't want Mama's name dragged through the mud.

GARY: So we drop the plan?

JOSIE: Not exactly. We just change the target. Instead of looking for dirt on Grant, you and Cameron look  
for something on _Walters_.  
FADE OUT  
  
  
  
SCENE FOUR  
Several hours later  
(The scene shifts to Foster Park. Sofia and Tito are on a bench, talking.)  
TITO: Did you get the hair from your brother?

SOFIA: I took it from his comb, and I took both samples to the lab at Oakdale Memorial.

TITO: Why didn't you just take it to Bay City University Hospital?

SOFIA: Because I don't want Joe to find out what's going on until I have some real proof, remember?

TITO: And when you get some real proof, what will you do with it?

SOFIA: IF it turns out that you really are Joe's son, I will have to tell him.

TITO: How do you plan to tell him?

SOFIA: I'll cross that bridge when...no, _if_ I come to it.  
FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to the office of Sinclair and Sinclair, Private Investigators. Gary and Cameron  
are talking.)  
CAMERON: So this is important to Josie?

GARY: Very important. She thinks it's the only way to keep Joe from being fired.

CAMERON: And she thinks she's the one who has to save his career?

GARY: Yes, because she blames herself for all the trouble he's in.

CAMERON: So she wants to make up for it?

GARY: And maybe this way, I can make it up to Josie for not trusting her.  
FADE OUT  
  
  
  
SCENE SIX: CLOSING SCENE

This scene takes place one week later.

(The scene shifts to THE ROSENTHAL HOTEL. Lydia, carrying an overnight bag,  
approaches the door to Room 1405, which is ajar.)  
LYDIA: (walking inside) Hello? Carl? Are you here? (looks around) Hello? Hello? Is anyone here? Carl?

(Closet door opens, and Rachel steps out)

RACHEL: Mrs. Hutchins, meet Mrs. Hutchins.  
FREEZE FRAME  



	21. Episode 21

This episode takes place on the night the previous episode ended.

SCENE ONE

(The scene is THE JASMINE GARDEN. Grant and Cecile are having dinner. A woman wearing a red scarf and dark glasses is sitting several tables away, watching them. They do not notice.)  


CECILE: Dinner at eight. How classic.  


GRANT: Classic, and classy.

CECILE: Have you ever regretted leaving Tanquir and coming back to Bay City?

GRANT: The word "regret" is not in my vocabulary.

WOMAN: (very low voice) It will be. One of these days, I swear I'll give you something to regret.

GRANT: But speaking of Tanquir, perhaps you and I should go back for a few days.

CECILE: Fun in the sun?

GRANT: You could put it that way.

WOMAN: (to herself) Fun in the sun, Grant? Not if I have anything to say about it. At least, not with her.

  
FADE OUT  
  
SCENE TWO  
(The scene shifts to Room 1405 of THE ROSENTHAL HOTEL. Rachel is standing face to face  
with Lydia.)

LYDIA: What are you doing here?

RACHEL: I'll ask the questions. Question number one: How long have you been  
blackmailing my husband?

LYDIA: He isn't your husband, legally.

RACHEL: Then I'll re-phrase it: How long have you been blackmailing Carl?

LYDIA: Before I answer that, just tell me one thing. Are you wearing a wire?  
After all, you do have connections to the Bay City Police Department.

RACHEL: I said I will ask the questions.

LYDIA: I don't have to answer to you.

RACHEL: You blackmail my husband into having sex with you, and you think you don't have to answer to me?

LYDIA: How do you know Carl and I had sex?

RACHEL: I overheard him talking to you on the phone.

LYDIA: Can you prove that it was me he was talking to?

RACHEL: I clearly heard him say "Lydia." I also know that you threatened to kill me if Carl didn't sleep with you.

LYDIA: And what else did my husband tell you?

RACHEL: Don't you dare call Carl your husband. I want you to divorce him, and this time, make sure it's legal.

LYDIA: And if I do, what happens afterwards?

RACHEL: That is none of your business.

LYDIA: Well, it's all academic, because I have no intention of giving Carl a divorce.

RACHEL: You may be sleeping with Carl, but all you have is his body.

LYDIA: What's that supposed to mean?

RACHEL: You and Carl have sex. Carl and I make love. (Lydia makes a sudden move  
and grabs Rachel.) What do you think you're doing?

LYDIA: Checking to see if you're wired.

RACHEL: And now you know. I'm not.

LYDIA: Well, that means I don't have to worry about the cops.

RACHEL: Meaning what?

LYDIA: Meaning I can just get rid of you. If anyone asks me any questions, I'll just say that I found an intruder in my hotel room, and  
FADE OUT  
  
SCENE THREE  
(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are on their way out.  
They still have not noticed the woman with the red scarf and dark glasses.)  
GRANT: A while ago, I said that the word "regret" was not in my vocabulary, but  
I wasn't being completely honest.

CECILE: Oh?

GRANT: I do regret one thing.

CECILE: And that is?

GRANT: Losing touch with my son Kirkland.

CECILE: Does he still think you're dead?

GRANT: I don't know. I really don't know (Grant and Cecile pass the table where  
the woman who's been watching them is seated.)

WOMAN: (sultry voice) Hello, Grant.

GRANT: (surprised) Cynthia! What are you doing here?  
FADE OUT  
  
  
  
SCENE FOUR: CLOSING SCENE  
(The scene shifts to THE ROSENTHAL HOTEL.)  
LYDIA: I'll just say that I found an intruder in my hotel room, and I had to get rid of her.

RACHEL: You'll never get away with this.

LYDIA: Are you sure about that? After all, this is my hotel room, and you're not wearing a wire.

(Closet door opens. Carl steps out)

CARL: True, but I am.

(Door to room opens. Joe and Gary walk in.)

GARY: I think we've got enough.

JOE: So do I. And since you're the Private Investigator, Gary, you make the arrest.

GARY: With pleasure.

RACHEL: Wait a minute, Gary. Let her go. We won't be pressing charges.

GARY: Rachel, are you sure about this?

RACHEL: I'm positive.  
(turns to Lydia) But you had better give Carl that divorce.

LYDIA: Oh, don't worry about that!(leaves room.)

JOE: Why aren't you pressing charges?

RACHEL: Because I don't want this to become public, especially with my show coming up.

JOE: I think I understand. (turns to Gary) Our work here is done.

GARY:Yeah,we may as well  
head back to Bay City

(Joe and Gary say their goodbyes to Carl and Rachel, and leave.)

CARL:(to Rachel) Let's go home, love.

RACHEL: Not so fast.

CARL: What do you mean?

RACHEL: I'm staying at this hotel for a few days. I need some time to think things over.

CARL: I thought you were ready to fight for our marriage.

RACHEL: That's just it, Carl. You and I are not married, remember?  
FREEZE FRAME  



	22. Episode 22

This episode takes begins where the  
the previous episode left off.

SCENE ONE  
(The scene is room 1405 of THE ROSENTHAL HOTEL in Chicago. Gary is leading Lydia out of the room   
in handcuffs. Carl and Rachel are face to face. Joe steps out into the hall.)  
CARL: What do you mean, we're not married?

RACHEL: Our marriage isn't legal, remember?

CARL: But that's a mere technicality.

RACHEL: I don't consider it a technicality that you had sex with Lydia.

CARL: I explained all that. She threatened to harm you if I didn't.

RACHEL: Am I supposed to believe that you were actually intimidated by her?

CARL: Think back to our past... back when Mac and I were enemies. In those days, I would have done anything to destroy your family.

RACHEL: What does that have to do with this?

CARL: After all I put you through in the past, I felt that I owed it to you to protect you, and that  
included protecting you from the truth.

RACHEL: Tell me one thing, Carl. Were you planning to sleep with her again tonight?

CARL: No. That's why I asked Joe and Gary to come. I wanted them to hear Lydia blackmailing me.   
But why did you come here tonight, love?

RACHEL: I wanted Lydia to know that I would not be intimidated by her, even if you were.

CARL: You're right. You are absolutely right. I'm ashamed to admit it, but I was intimidated. I was also a fool.

RACHEL: Oh?

CARL: Yes. I should have realized that Lydia would be no match for you.  
FADE OUT  
  
SCENE TWO  
(The scene shifts to THE JASMINE GARDEN. Grant and Cecile, on their way out,   
have been "greeted" by Cindy.)  
CINDY: I just love this place, don't you, Grant?

CECILE: Grant and I come here often.

CINDY: Oh, do you?

GRANT: Yes.

CECILE: You and Grant used to be married, right?

CINDY: Yes, and we had some fantastic se

GRANT: (breaking in) Really, Cynthia!

CINDY: Actually, that was just about the only good thing in our marriage.

CECILE: (to Cindy) Haven't we met somewhere?

CINDY: We ran into each other on Tanquir. Lovely island, by the way.

CECILE: Ah, yes. That was almost three years ago, wasn't it? Grant was there at the same time.

CINDY: That's strange. I never saw him.

GRANT: I made sure of that. It would have been very inconvenient if you had seen me.

CINDY: Especially since you were pretending to be dead.

GRANT: You weren't unescorted, Cynthia. Now, what was the name of that man you were with? Donald?

CINDY: David. David Halliday.

GRANT: Oh, that's right. Hmmm.... I wonder what became of that relationship.

CINDY: Never mind.  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to THE ROSENTHAL HOTEL. Carl and Rachel are still talking.)  
CARL: Rachel, love, we've worked too hard on our marriage to let what Lydia did destroy everything we have.

RACHEL: Not what Lydia did. What you did with Lydia.

CARL: But, Rachel, you said yourself that you and I are not legally married. Joe, will you please come in here? (Joe walks into the room.) Now, you know my divorce from Lydia wasn't legal

RACHEL: (turning on Joe) Wait a minute. You knew about this?

JOE: I didn't know everything. I just knew that Lydia had been making threats. And I've had you under constant police protection.

RACHEL: You have?

JOE: Of course. I've had plain-clothes cops in unmarked cars protecting you all along.

RACHEL: I never noticed.

JOE: Good. That means they did their jobs right.

RACHEL: (to Carl) Were you really afraid that Lydia would hurt me?

CARL: Yes. How else could she have blackmailed me, if not by threatening you?

RACHEL: If she knows what is good for her, she'll give you that divorce, and make sure it is legal this time.

CARL: And then, what about us?

RACHEL: We'll see.

CARL: But are you coming home after all?

RACHEL: Yes.  
FADE OUT  
  
  
  
SCENE FOUR: CLOSING SCENE  
(The scene shifts to Josie and Gary's bedroom, ninety minutes later. Josie and Gary are in bed.)  
GARY: I did a little research in Chicago.

JOSIE: You looked for dirt on Commissioner Walters?

GARY: Yep.

JOSIE: Well, what did you find?

GARY: Absolutely nothing.

JOSIE: Nothing?  
GARY: Nothing incriminating, anyway. It looks like the Commish is clean as a whistle.

JOSIE: (thinking) We'll just see about that.  
FREEZE FRAME  



	23. Episode 23

This episode begins one week after the previous episode ended. It is now the middle of June,  
2003.

  
SCENE ONE

(The scene is Cameron and Amanda's dining room. Cameron, Amanda, and Alli are seated at the table, eating breakfast.)  
AMANDA: I hope Mom and Carl work out whatever is wrong between them soon.

CAMERON: You're sure singing a different tune than you sang a few years ago.

ALLI: What are you talking about?

CAMERON: Well, this happened before your mother and I met, but she told me all about it. It seems there was someone named Hadley Prescott

AMANDA: Cameron....

ALLI: Who's Hadley Prescott?

AMANDA: Nobody.

CAMERON: You could say that. (Laughs.)

ALLI: What's so funny?

AMANDA: Nothing. It's not funny.

ALLI: Was Hadley Prescott someone Grandpa Carl was involved with?

AMANDA: I see I'm going to have to tell you the whole story. And I'm not proud of what I did, but at the time I thought I had to protect Mom by getting Carl out of her life.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to Josie and Gary's dining room. Josie and Gary are just finishing breakfast.)  
JOSIE: You still didn't find anything?

GARY: I've been trying to find something for weeks, but it looks like  
the Commish is as clean as a whistle.

JOSIE: Then why is he working for Grant?

GARY: Face it, Josie, technically, you work for Grant, too.

JOSIE: Bite your tongue. I work for Joe, not for Grant.

GARY: But Grant is the mayor, and that _does_ make him Joe's boss, and yours, too.

JOSIE: Please! I just ate.  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to an unidentified luncheonette. Grant and Commissioner Walters are having a breakfast meeting.)  
GRANT: (Takes piece of buttered toast, bites, chews, swallows.) So, Captain Carlino has been investigated?

WALTERS: Thoroughly. We can initiate the hearing whenever you want to.

GRANT: Well, I'd rather wait until the time is absolutely right.

WALTERS: And when will that be?  
GRANT: (smiling) All in good time, Howard. All in good time.  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to Cameron and Amanda's dining room.)  
AMANDA: And that's who Hadley Prescott really was.

ALLI: Mom! You didn't!

AMANDA: I did. I told you I wasn't proud of it.

ALLI: What happened?

AMANDA: Your grandmother found out the truth.

ALLI: I'll bet she was mad.

CAMERON: That's an understatement. From what I've been told, your grandmother was furious.

AMANDA: Was she ever!

CAMERON: But that's all in the past.

AMANDA: (slight smile) Just like Mandy Ashton.

CAMERON and ALLI: Who?

AMANDA: That's another story.  
FADE OUT  
  
  
  
SCENE FIVE  
Several days later

(The scene shifts to the front porch of the Carlino home, late in the afternoon. Joe and Dante are sitting together.)  
DANTE: Daddy, you know what happened today?

JOE: What, Dante?

DANTE: Well, me and Bonnie and her Mommy were at the park, and... you know my friend Petey?

JOE: Yes, I know him. Is this about Petey?

DANTE: He and his Daddy were walking in the park, and Petey looked up at his Daddy and said, "I love you, Daddy." And his Daddy said in  
a real mean voice (Dante makes his voice as deep as he can) "Men don't say "I love you" to other men!"

JOE: He did?

DANTE: Uh huh. (seriously, looking into Joe's face) That's not right, is it, Daddy?

JOE: No, it isn't. I tell your Grandpa that I love him every time I talk to him.

DANTE: Maybe Petey's Daddy doesn't love him. (Joe doesn't say anything) Shouldn't Daddies love their kids?

JOE: Of course they should.  
FADE OUT  
  
  
  
SCENE SIX: CLOSING SCENE  
(The scene shifts to Sofia's bedroom. Sofia is holding an envelope in her hand)  
SOFIA: It finally came. Please don't let it be a match. Please, God, don't let it be a match. (opens envelope, removes sheet   
of paper, reads contents.) Oh, dear God! How am I going to tell Joey?  
FREEZE FRAME  



	24. Episode 24

This episode takes place several days after  
the previous one ended.

SCENE ONE  
(The scene is Foster Park. Sofia and Tito   
are sitting on what we could almost call "their bench" by now.)

TITO: Isn't it time you told Joe I'm his son?

SOFIA: Joe is your biological father, but that doesn't make you his son.

TITO: You can't change the facts.

SOFIA: I wish I could.  
TITO: You didn't have to tell me the truth, you know. You could have said that it wasn't  
a match.

SOFIA: No, I couldn't.

TITO: Why couldn't you?

SOFIA: Because I'm not a liar like you.

TITO: But you haven't told Joe. Isn't that like lying?

SOFIA: I don't think so.

TITO: Aren't you hiding the truth from him?

SOFIA: No. I'm waiting for the right time to tell him.  
FADE OUT  
  
  
  
SCENE TWO  


(The scene shifts to Joe's office at the 2-3. Joe is talking to a man whose back is towards us;   
we cannot see who he is.)  
JOE: I can't wait to see the look on Paulina's face when I bring you home to dinner tonight.

MAN: A lot has happened since the last time I saw her.

JOE: Well, you'll have time to catch up. You _are_ staying in Bay City for awhile at least, aren't you?  
  
  
  
  
SCENE THREE  
(The scene shifts to CARLINO'S. There is a good crowd, including several police officers on their lunch break. Cass and Lila are at a table, having lunch. Paulina approaches.)  
CASS: I've got to tell you, you and Joe serve the best food in Bay City.

PAULINA: Well, the best Italian food, anyway.

CASS: Everybody comes here.

PAULINA: Not exactly. There are two people who are not welcome.

LILA: I'll bet one of them is Grant.

PAULINA: You've got that right. Not that he's been here since he showed up alive.

CASS: Who's the other persona non grata?

PAULINA: Tito. You know, Joe and I couldn't believe it when Sofia told us she'd seen   
him several times.

CASS: Is Sofia (coughs) interested in this creep?

PAULINA: No. She told us that the less she has to do with him, the better. So, do you guys have any plans for your anniversary?

CASS: Just a quiet evening at home.

LILA: A quiet, _romantic_ evening at home.

CASS: So, when is your baby due?

PAULINA: (smiling) Any day now.  
  
  
  
  
SCENE FOUR: CLOSING SCENE  
(The scene shifts to the front porch of the Carlino home, several hours later. Paulina and Sofia are sitting on the porch, talking.)  
SOFIA: Joe should be home soon.

PAULINA: He called and told me he's bringing someone home to dinner.

SOFIA: Oh? Who?

PAULINA: He wouldn't tell me. He just said I'd be surprised.

(Joe approaches with man)

JOE: Hey, Blue Eyes, look who's back in Bay City.

PAULINA: (shrieking) Derek! It's so good to see you again!  
FREEZE FRAME


	25. Episode 25

Special Episode: THE BLESSED EVENT

This episode takes place on June 25th, 2003  
  
SCENE ONE  
(The scene is Joe's office at the 2-3. Joe, Toni, and Josie are inside, discussing a case.  
Phone rings. Joe picks up receiver.)  
JOE: Carlino. (pause) You took her to the hospital? I'll be right there. (Hangs up phone.)

JOSIE: Is it the baby?

JOE: (smiling) Paulina's in labor. Sofia took her to the hospital.

TONI: So you're headed over there.

JOE: You know it.  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to the waiting room at Bay City University Hospital. Sofia, Remy, Dante and Ryan Gabriel are sitting together. Sofia is holding Ryan Gabriel on her lap. Remy is reading, or trying to read, a magazine. Dante is drawing on a sheet of paper.)  
RYAN GABRIEL: Where Mommy and Daddy?

SOFIA: Your Daddy will be here soon.

RYAN GABRIEL: Where Daddy now?  
DANTE: With Mommy.

RYAN GABRIEL: (squirming off Sofia's lap) I want Mommy and Daddy.

DANTE: (gives paper and crayons to Ryan Gabriel) Here. You can draw a picture for Mommy while we're waiting, okay?

RYAN GABRIEL: Okay. (takes paper and starts drawing)

DANTE: Remy? Aunt Sofia? Could one of you please give me some quarters?

REMY: Do you want to get a soda, or candy?

DANTE: No.

SOFIA: Then what do you want the money for?

DANTE: I want to call Bonnie and tell her the baby is coming.

REMY: I'll go with you. It's not safe to wander around by yourself.

DANTE: That's what Mommy and Daddy say.  
FADE OUT  
  
  
  
  
SCENE THREE  
(The scene shifts to the Bennet home, five minutes later. Mrs. Bennet is talking on the phone.)  
MRS. BENNET: Hold on a minute,please. I've got another call. (presses button) Hello? (pause) Hello, Dante. You  
sound excited. (pause) No, I'm sorry. She's taking a nap right now. (pause) No wonder you're excited. (pause) Well,  
it shouldn't be very long now. (pause) Yes, I'll tell her.  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to the waiting room, twenty minutes later. Dante and Ryan Gabriel are sitting together, looking at pictures in a magazine. Sofia and Remy are seated across from them.)  
RYAN GABRIEL: When we can go home?

DANTE: Maybe soon. Do you know why we're here?

RYAN GABRIEL: Why?

DANTE: We're getting a new baby.

RYAN GABRIEL: I'm a baby.

DANTE: Yes, you're still a baby, but when the new baby comes, you'll be a big brother, like me.

SOFIA: (low voice, to Remy) Isn't Dante good with Ryan Gabriel?

REMY: He sure is. I'm proud to have a little brother like that.

(Joe comes into the waiting room. He has a huge smile on his face. Everyone looks up at him. All start talking at once.)<

DANTE: Is the baby here, Daddy?

REMY: How's Mom doing?

SOFIA: Is it a boy or a girl?

RYAN GABRIEL: I see Mommy now?

JOE: It's a girl. A beautiful little girl.  
FADE OUT  
  
  
  
SCENE FIVE: CLOSING SCENE  
(The scene shifts to Paulina's hospital room, ten minutes later. Paulina, smiling and crying at the same time, is holding her brand-new daughter, who is wrapped in a pink blanket. Joe walks in, holding Dante and Ryan Gabriel by their hands. Remy and Sofia follow. Everyone kisses Paulina.)

DANTE: Can I see the baby now?

PAULINA: Of course you can. (Moves blanket.)

DANTE: (softly, smiling down at his little sister) Hi, Bambina.  
FREEZE FRAME  



	26. Episode 26

This episode takes place one day after the  
previous, special episode.

SCENE ONE  
(The scene is Paulina's hospital room. Rachel, Amanda, and Alli are inside with Paulina and the new baby.   
They are cooing and clucking over the little girl.)

AMANDA: By the way, where's Joe?

PAULINA: (smiling) You mean besides Cloud Nine? He had to go over to the station house for awhile.

ALLI: I think this baby looks like Joe.

(Baby makes cooing noises. Joe and Dante come into the room.)  
JOE: I heard that, and I think you are absolutely right. (Looks down at the baby) Whose little girl are you?  
FADE OUT  
  
  
SCENE TWO  
(The scene shifts to THE JASMINE GARDEN. Sofia enters,looks around, and walks over to the table where Tito is seated.)  
TITO: It's about time you got here.

SOFIA: I was at the hospital, seeing my new niece.

TITO: You mean my new sister.

SOFIA: No. _Remy's_ sister, _Dante's_ sister, _Ryan Gabriel's_ sister.

TITO: She's my sister, too, or at least, my half-sister.

SOFIA: Only by blood.

TITO: What's that supposed to mean?  
SOFIA: Blood only makes relatives. Love makes families.  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to Josie and Gary's house. Josie is working on the computer. Gary walks into the room.)  
GARY: Find anything?

JOSIE: Nothing. It looks like you're right about Walters being clean.

GARY: And you wish he weren't.

JOSIE: I wish I had something on him...something I could use to get him off Joe's back.

GARY: I'm still not sure about this. You know Joe would never approve.

JOSIE: I know, but the hearing begins in less than two weeks. Besides, if you're not sure about it, why did  
you agree to investigate Walters?

GARY: I figured I owed you something after accusing you of... well... you know,  
and I knew how important this was to you.

JOSIE: Can't you just forget about that time? It's over and done with.

GARY: Not for Bonnie Bennet, it isn't. It will never be over for her. And I'm  
sure Joe will never forget that I put Dante's best friend in a wheelchair for the rest of her life.

JOSIE: Joe knows it was an accident.

GARY: He also knows I was drunk.

JOSIE: Gary, you have to stop brooding about it. Look, I have to get over to the 2-3  
in a half hour and start my shift, but I want to go see Joe and Paulina's new baby first.  
FADE OUT  
  
  
  
SCENE FOUR  
(The scene shifts to the Cory-Hutchins property. Rachel is seen approaching her studio. She opens the door, and walks inside.  
There are several sculptures on the table; one is covered. Rachel removes the cover.  
The sculpture is not finished, but we can see that it is a young girl on horseback. The horse's tail  
and the girl's ponytail flow out, as if the horse is galloping in the wind.  
Somehow we can tell by looking at this yet-unfinished sculpture that the girl and the horse are as one.  
Gently, Rachel begins to put the finishing touches on the sculpture. No dialogue.)  
FADE OUT  
  
  
  
SCENE FIVE  
(The scene shifts to THE JASMINE GARDEN. Sofia and Tito have their food in front of them, but they are not eating. We see  
Grant walking towards them; they do not notice.)  
TITO: I don't care what you say, Aunt Sofia

SOFIA: Don't call me that. At least not in public.

TITO: Why? Are you afraid someone will overhear? You showed me the proof. I know  
Joe is my father. So when are you going to tell him?

SOFIA: Look, right now Joe is all ecstatic about the new baby. This isn't the time for him  
to find out you are his son.

TITO: Maybe you're right.. especially since Joe hates my guts. But it's ironic,  
when you think about it.

SOFIA: What is?

TITO: Joe is so big on family, and he hates his own son.

SOFIA: But Joe doesn't know you're his son.

(Grant approaches, and clears his throat. Sofia looks up.)

SOFIA: How much did you hear?

GRANT: Enough to know that you've been keeping your brother in the dark about  
something very important.

SOFIA: And I'm supposed to believe you care.

GRANT: Well, I believe that a man has a right to know when he has fathered a child.

SOFIA: Joe's rights have never mattered to you before.

GRANT: I also think that the good citizens of Bay City should know that their police captain  
isn't as squeaky clean as they _think_ he is. I think they have the right to know that Joe fathered   
a child, and then abandoned the mother.

SOFIA: That's a lie. Joe never knew he'd fathered a child.

GRANT: Perhaps not, but after my press conference, everyone will know.

SOFIA: What press conference?

GRANT: The one I'm going to hold in one hour.  
FADE OUT  
  
  
SCENE SIX  
(The scene shifts to Paulina's hospital room. Joe and Paulina are alone with their new daughter.)  
JOE: We have to come up with a name for this little angel. Wait a minute. That's it!

PAULINA: What?

JOE: How about if we call her Angela Rose?

PAULINA: Angela Rose Carlino. I like it.

(Josie comes into the room.)

JOSIE: Angela Rose, huh?

JOE: That's right.

JOSIE: I guess I'm the first one outside of your family to know the baby's name.

JOE: Hold on a second, Josie. Where do you get this "outside of my family" stuff?

JOSIE: Yes, I know you're always saying that the 2-3 is a family.

JOE: That's not what I mean, Josie. Figure it out. Your cousin Jamie is Paulina's step-brother, which  
makes you Paulina's step-cousin, and my step-cousin-in-law.

JOSIE: Is there such a thing?

PAULINA: Why not? And don't forget Cameron and Amanda. Their marriage makes us sort of in-laws-in-law.

JOE: You hear that, Josie? You are definitely family, and you know how I feel about my family.

(Sofia walks into the room.)

JOSIE: Hi, Sofia.

SOFIA: Hi, Josie. Look, Joe, I have to talk to you.

JOE: Sounds serious.

SOFIA: It is. Could we go out into the hall?  
FADE OUT  
  
  
  
SCENE SEVEN: CLOSING SCENE  
(The scene shifts to an undisclosed location where a television is playing. Grant is on the screen.)  
GRANT: As your mayor, I have a responsibility to warn you when those you trust are corrupt. I feel, for example,  
that a police captain should be absolutely above reproach in both his professional and personal life. Think about this, now.  
Can you good citizens of Bay City really trust a man who fathered an illegitimate  
FREEZE FRAME  



	27. Episode 27

This episode begin where the previous episode left off.

SCENE ONE

(As the episode begins, we see a split screen. Left side of screen shows Joe and Sofia in the hospital corridor.   
Right side is split into nine squares. Each square has the image of a television with Grant on-screen.   
Grant's speech takes place simultaneously with Joe and Sofia's conversation.)

SOFIA: There's no easy way to tell you this, but it's better you hear it from me than from somebody else.

GRANT: I find it appalling

JOE: Whatever it is, I can handle it.

GRANT: that this man, who claims to be

SOFIA: OK. Do you remember Lenora Martin?

GRANT: such a great family man

JOE: Yeah, I remember her

GRANT: and such a devout Catholic

JOE: I wonder what became of her.

GRANT: had an affair (as Grant speaks, right side of screen dissolves. (Left does not change.)  
Scene on right side of screen changes to the squad-room of the 2-3. A radio is on.   
Grant's voice continues throughout. Toni and Adams are among the officers in the squad room.)

ADAMS: I'll bet anything Joe never even knew about that kid.

SOFIA: She had a baby. A boy

JOE: You mean I've got another son somewhere?

GRANT: And he continues to ignore his own son's existence, even though that son is right here in Bay City.

TONI: WHAT?!

ADAMS: WHO?!

SOFIA: Yes, and (hesitates a few seconds) and I know who it is.

JOE: You're sure?

SOFIA: I have documented proof.

GRANT: I'm sure it will come as a shock to you, as it did to me, to learn that Joe Carlino is the father of

(Right side of screen dissolves; we now see only Joe and Sofia)

SOFIA: I'm not sure how you're going to take this news

JOE: What, are you kidding me? Whoever he is, he is my son. My flesh and blood. _Our_  
flesh and blood.

SOFIA: Well, _I'm_ not ready to welcome him into the family.

JOE: Why not?

SOFIA: Because, oh, God, Joey, it's (hesitates) Tito Banecek.  
FADE OUT  
  
SCENE TWO  
(The scene shifts to Rachel's studio. Rachel is putting the finishing touches on the sculpture of the girl on horseback. Carl walks in.)

CARL: That is one of the most beautiful pieces you've ever done.

RACHEL: (very formal tone of voice) Thank you.

CARL: We may have a crisis on our hands.

RACHEL: (covering her sculpture) We already have a crisis... our so-called marriage.

CARL: This has nothing to do with our marriage.

RACHEL: Then what is it?

CARL: I switched on the television, and there was our not-so-beloved mayor making allegations against Joe.

RACHEL: What? He's accusing him of dereliction of duty?

CARL: No. This has to do with Joe's personal life.

RACHEL: Not even Grant could find anything wrong with Joe's personal life.

CARL: Well, even Joe has a past, and it seems he had an affair when he was a teenager.

RACHEL: An affair?

CARL: Grant claims that Joe has a son whom he has never acknowledged.

RACHEL: Oh, come on. We both know Grant would do anything, say anything, to discredit Joe.

CARL: If it is true that Joe fathered a child out of wedlock, which is by no means outside the realm  
of possibility, I'm sure that he didn't know about it, and that he'll want to find his son.

RACHEL: Of course he will. Everyone knows how Joe feels about family.

CARL: Speaking of family

RACHEL: I know what you want to ask me.

CARL: And?

RACHEL: Let's just wait until Lydia gives you a legal divorce, if, in fact,  
she does.

CARL: Let us assume that she gives me the divorce. Where do we go from there?

RACHEL: I don't know. Right now I honestly don't know.  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to the squad room at the 2-3. The radio has been turned off. There are some furious cops in the room.)

ADAMS: And _that_ is our mayor. Doesn't he have anything better to do than to bad-mouth Joe?

TONI: (bitterly) Bad-mouthing Joe is one of Grant's hobbies.

JOHNSON: Why can't Grant just let Joe concentrate on his new daughter?

ADAMS: It's bad enough he and Commissioner Walters have Joe under investigation without bringing up something in his personal life.  
TONI: If you ask me, that's just why Grant is doing this now, while Joe is under investigation. He wants to show him in the most unfavorable light possible.

JOHNSON: Well, we all know Grant would do anything to ruin Joe's career.

TONI: I'd love to ruin Grant's career.

ADAMS: Josie tried that, remember, when she framed him for arson?

TONI: Yes, I heard about that.

JOHNSON: And you know how Joe feels about that sort of thing. Josie was suspended, and placed under house arrest.

ADAMS: Let's face it. There's nothing we can do about Grant, but I do wish we could  
stop Commissioner Walters from investigating Joe.

(Josie walks in)

TONI: Hey, Josie.

JOSIE: I just came from the hospital.

ADAMS: So you know what happened?

JOSIE: You mean about the press conference Grant plans to hold?

TONI: Plans to hold, nothing. He's already held it.

JOSIE: (through her teeth) That no good, lousy  
FADE OUT  
  
  
SCENE FOUR  
(The scene shifts to the corridor of BCUH. Joe and Sofia are still talking.)

JOE: I'm Tito Banecek's father? That no-good punk is my son?

SOFIA: The tests were conclusive.

JOE: And now His Honor, the mayor, is going to hold a press conference and announce my personal business to everyone?

GRANT: (walking up to Joe and Sofia) Actually, Captain Carlino, I've already held the press conference.

SOFIA: (looking at her watch) You said you were going to hold it in one hour!

GRANT (feigning innocence) Oh, did I? I meant _within_ the hour.

JOE: You bastard!

GRANT: May I remind you that, as the _mayor_ of Bay City, I am your boss?

JOE: That is something I would really like to forget.

SOFIA: I suppose you told everything in your press conference.

GRANT: Not quite. I left Tito's name out of it. After all, the circumstances of his birth are not his fault,   
so why should _his_ name be dragged through the mud?

SOFIA: Isn't Tito the one who almost killed you?

GRANT: Yes, but I really believe it was an accident. After all, I killed my own brother by accident, and I will miss him until the day I die.

JOE: You know, Grant, all of us who knew and loved Ryan are sick and tired of hearing that garbage from you.

GRANT: Oh, by the way, Captain Carlino, the date for your hearing has been set. Of course, you could spare yourself  
a great deal of embarrassment by resigning from the force.  
FADE OUT  
  
  
  
SCENE FIVE: CLOSING SCENE

Several days later

(The scene shifts to the exterior of the Rectory.  
Joe walks up the steps and rings the bell. Fr. Austin Malone, a tall, red-headed priest in his early forties, opens the door.)  
JOE: Thanks for agreeing to see me right away, Father Malone.

FR. MALONE: (leading the way inside) Well, I know you've been having some troubles lately, as well as a great blessing.

JOE: (smiles for one minute) Yes, Angela Rose.

FR. MALONE: Suppose we set the date for that precious child's baptism.

JOE: I'd like that.

FR. MALONE: Let's say this Saturday? Three in the afternoon?

JOE: That would be fine, Father.

FR. MALONE: And now, suppose we sit down and talk about what's troubling you?

JOE: Well, Father, by this time everybody in Bay City knows that I fathered a son out of wedlock.

FR. MALONE: Well, you were young, and you didn't know you had a child.

JOE: That's not what's bothering me, Father. After all, Paulina was pregnant with Dante when we got married.

FR. MALONE: What's troubling you, Joe?

JOE: Awhile ago, Dante told me that he didn't think his friend's father loved him. And he asked  
me if Daddies weren't supposed to love their kids.

FR. MALONE: And, knowing you as well as I do after living here a year and a half,   
I'm sure you told him that yes, Daddies should love their kids.

JOE: That's what's bothering me. I feel like a hypocrite.

FR. MALONE: And why is that?

JOE: Because I told Dante that fathers should love their children, and now I have a child I don't love.

FR. MALONE: Well, even though he is your own flesh and blood, Tito Banacek isn't your son in the same way that  
Dante and Ryan Gabriel are. You had nothing to do with bringing him up.

JOE: It's not just that, Father. Four years ago, Paulina almost went to prison for murder. She was covering for Tito.

FR. MALONE: (surprised) But why?

JOE: Because he fooled her into believing he was her long-lost son. But,< as you know, Paulina had a daughter.

FR. MALONE: Remy. Well, you love Remy, don't you?

JOE: Remy is Paulina's, so as far as I'm concerned, she is mine. But Tito.... I know he is my son,   
and I'm supposed to love him, but not only don't I love him,   
I hate him! (Joe breaks down.) God help me, I hate him!  
FREEZE FRAME  



	28. Episode 28

This episode takes place on the day after the previous  
episode ended. It is now the first week in July, 2003.

SCENE ONE

The scene is the squad-room of the 2-3. Josie, Toni, and Adams are talking.)

JOSIE: I can't imagine what Joe is going through right now.

TONI: You mean about Tito?

JOSIE: Exactly. He is so torn up inside about having a son he doesn't love.

TONI: Oh, come on. Tito isn't Joe's son in the way that really counts.

ADAMS: That's for sure.

JOSIE: And not only does Joe have to deal with this, but the hearing is coming up.

ADAMS: I still can't believe Joe is being charged with dereliction of duty.

JOSIE: And it's all my fault. If I had just told Joe about that phone call, none of this would be happening now.

TONI: You mean from Rayburn?

JOSIE: Yes.

ADAMS: That's what really makes me angry. Where does that rapist creep, who never had any business being a cop,  
come off making accusations against Joe?  
FADE OUT  
  
  
  
SCENE TWO  
(The scene shifts to Cass Winthrop's law office. Cass and Joe are inside, talking.)

JOE: I guess you know I've been charged with dereliction of duty.

CASS: I think most of Bay City knows by now.

JOE: And this stuff about Tito makes me look even worse.

CASS: Not to the people who know you.

JOE: But there's still a very real chance that I could lose my shield, and I can't afford that right now.

CASS: So I take it this isn't a social call.

JOE: Cass, I want to hire you to represent me at the hearing.

CASS: You want to hire me as your attorney?

JOE: Yes.

CASS: Sorry, Joe, but there is absolutely no way that I will let you hire me as your attorney.

JOE: (surprised) But why not?

CASS: The only way I will take your case is pro bono.

JOE: "For the good?"

CASS: For the good of Bay City. If you lost your job, I shudder to think who would take over as captain of the 2-3.

JOE: I'm sure Grant and Commissioner Walters already have someone in mind.

CASS: I'd bet my practice on it.

JOE: If I could just be sure that my successor would be somebody good... someone like my three predecessors..

CASS: Or if we could trust the Commish.

JOE: But how can we trust anyone handpicked by Grant? And how can I entrust the officers under  
me to whoever the two of them would put in?

CASS: You really care about the officers under you.

JOE: I've always felt that there's more to being in charge than just being the boss.  
FADE OUT  
  
  
  
SCENE THREE  
(The scene shifts to an undisclosed location. Grant is talking with Chip Rayburn)

GRANT: Let's go over your testimony, beginning with what happened when Officer Burrell and Detective Sinclair arrested  
you.

CHIP: (calmly, almost as if he is talking about something that happened to someone else) The two of them kidnapped me. They hung me out of a sixth floor window. They took me to  
the tracks and threatened to throw me under a train if I didn't confess that I had raped

GRANT: Stop right there, Chip.

CHIP: What's wrong?

GRANT: When you testify, you must not mention the rape. Remember, you are the victim here, and Joe Carlino is   
the one responsible for covering up that fact.  
The word "rape" must never escape your lips, because it would cloud IA's view of the case.

CHIP: But what if someone else brings it up?

GRANT: In that case, you say that your confession was made under duress. And there's something else. You sounded  
much too calm when you described what happened. We want IA to get the impression that you have been traumatized and scarred by what happened to you.  
The case against Joe Carlino hinges on your testimony.

CHIP: And have you decided on his replacement?

GRANT: I'm considering several candidates for the job, but one thing is definite. The new  
captain of the 2-3 will dance to _my_ tune.  
FADE OUT  
  
SCENE FOUR  
(The scene shifts Joe's office at the 2-3, one hour later. Joe is inside, alone. There is a  
large crate on his desk. Joe is reading a letter. He reads it again, and shakes his head.)

JOE: (to himself) Well, if that's what she wants...(gets up, goes into the squad room.)  
Listen up, everybody. (Officers, among whom are Toni, Josie, Adams, and Johnson, look at him questioningly.)

JOSIE: What's up?

JOE: We've just received a very strange gift.

TONI: What's so strange about it?

JOE: The strange thing is, the gift is in two parts. There is a check for a thousand dollars  
made out to the PBA, but there is a catch.

JOSIE: What's the catch?

JOE: The check isn't signed.

ADAMS: Well, I'm sure that's an oversight.

JOE: No, it wasn't an oversight. The donor wrote that she will not sign the check unless I agree  
that the other part of her gift will be used according to her instructions.

JOSIE: Just what is the other part of the gift?

TONI: And how does she want us to use it?

JOE: Let me read that part of the letter to you guys. (reads) "The other part of my gift is  
a computer, which is _not_ to be used for police work."

JOSIE: Wait a minute. She's donating a computer to the police department, but we can't use it for police work?

JOE: That's right (reads) "It is to be used for  
recreational purposes only. I've taken the liberty of installing several games."

ADAMS:(shakes his head in disbelief.) She sent us something to _play_ with?

JOE: That's right,and unless I accept the computer, and agree to her conditions for  
its use, the PBA doesn't get the money.

TONI: So what are you going to do?

JOE: I'm going to accept her conditions, but I'm also going to lay down some ground rules.

JOSIE: Like what?

JOE: You can only use it after your shift is over.

JOSIE: What about during our lunch and dinner breaks?

JOE: The keywords there are "lunch" and "dinner".

TONI: What do you really think about this deal?

JOE: Well, while the conditions are unusual, they are not unethical. So we've got a recreational computer,  
and the PBA has a thousand dollars.  
FADE OUT

SCENE FIVE  
(The scene shifts to CARLINO'S. Derek and Felicia are at a table, facing each other. We can see that Derek still has his scar.)  
DEREK: It's so good to see you, Fanny.

FELICIA: I'm just glad you've kept in touch all  
these years.

DEREK: So much has happened since the last time we saw each other.

(Joe walks in and approaches table)

FELICIA: Hello, Joe. I have to tell you, the food here just gets better and better.

DEREK: It's the best Italian food I've ever tasted outside of Italy.

JOE: You've been to Italy?

DEREK: Rome and Florence.

JOE: Someday, you've got to see Calabria.

FELICIA: That's where Joe's family came from.

DEREK: I know. Paulina told me.

JOE: Speaking of Paulina, I wonder if you'd do  
something for us, Derek.

DEREK: Sure, if I can.

FELICIA: I think I can guess what you are going to ask him, Joe.  
It has something to do with the baby, doesn't it?

JOE: As a matter of fact, it does. (turns to Derek) Sofia and Remy are going to be Angela Rose's Godmothers,   
and Paulina and I would like it  
very much if you would be her Godfather.

DEREK: Me? Don't get me wrong here, I'm flattered but face it, you and I don't really know each other that well yet.

JOE: Look, Derek, I know you and I just met awhile ago, but Paulina has always talked about you , In a way, you were  
Paulina's foster brother, and I know you were  
the first person to ever look out for her. Because of that, I've always thought of you as family.  
FADE OUT

SCENE SIX: CLOSING SCENE

That night  
(The scene shifts to Josie and Gary's bedroom. Josie and Gary are in bed, talking)  
GARY: So some rich, eccentric lady donated a thousand dollars to the PBA, and a computer to the 2-3?

JOSIE: That's right. Joe set it up in that room that hasn't been used for several years.

GARY: Has anybody used the computer yet?

JOSIE: A few of us were playing pinball against each other after our shifts ended.

GARY: And how'd you do?

JOSIE: (preening herself) As of now, you are looking at the pinball champion of the 2-3.

GARY: Are you guys having a tournament or anything like that?

JOSIE: No, we're just keeping a running tally of our scores. Besides, I have other plans for that computer.

GARY: Like what?

JOSIE: Like getting the investigation against Joe stopped once and for all.  
FREEZE FRAME  



	29. Episode 29

This episode takes place several days after the previous one.

SCENE ONE  
(The scene is Cass Winthrop's law office. Cass and Joe are inside, talking.)

CASS: So she donated a thousand dollars to the PBA, on condition that you accept a   
computer, but _not_ use it for police business?

JOE: Right.

CASS: And you accepted it?

JOE: Yes, because I didn't see anything wrong with the deal, and the PBA could really use the money.

CASS: But you're having second thoughts now?

JOE: Not exactly. I mean, I know I didn't do anything unethical.

CASS: But you're afraid Commissioner Walters and our esteemed mayor could make it seem wrong?

JOE: I'm sure they'll try.

CASS: They might accuse your officers of neglecting their work in order to play games.

JOE: I've already taken care of that.

CASS: Oh? How?

JOE: My officers are only allowed to use the computer when they finish their shifts.

CASS: Good idea. So is the system working?

JOE: So far, yes. (smiles) A few of them have started a pinball competition.

CASS: And who's leading?

JOE: Last I heard, Josie was ahead by about 1500 points.  
FADE OU 

SCENE TWO  
(The scene shifts to the "computer room" at the 2-3. Josie is at the computer. Adams comes in.  
Josie quickly hides what she is working on.)

ADAMS: I didn't know your shift was over, Josie.

JOSIE: It isn't. I was just taking a quick break.

ADAMS: But Joe told us not to use this computer when we're on duty, remember?

JOSIE: (sighs) I know, but I just needed to unwind.

ADAMS: And what if Joe had walked in here just now? How do you think he would  
feel if he knew you were disobeying orders?

JOSIE: You won't tell him, will you?

ADAMS: What do you think I am?

JOSIE: My fellow officer, my friend, my bowling buddy, and, right now, my pinball rival.

ADAMS: Look, Josie, I know you outrank me, and I have no business telling you what to do, but

JOSIE: Remember what Joe says? That we shouldn't pull rank on each other unless it is absolutely necessary?

ADAMS: So you don't mind a little friendly advice?

JOSIE: Shoot.

ADAMS: I just don't think any of us should do anything we know Joe doesn't want us to do.

JOSIE: Because right now, what with the investigation and this news about Tito being his son, he needs our support.

ADAMS: Exactly. Joe is always there for us when we need him.

JOSIE: And now we have to be there for him. (Thinks) That's just what I'm doing.  
FADE OUT

SCENE THREE  
(The scene shifts to the Cory-Hutchins mansion. Carl is sitting in the living room, listening to a recording of LA BOHEME.  
MUSETTA'S WALTZ begins.  
Rachel enters the room.)

CARL: Where were you?

RACHEL: I went to see Lydia.

CARL: Alone? You really shouldn't

RACHEL: You are in no position to tell me what I should or should not do.

CARL: Well, will you tell me why you went to see her?

RACHEL: I went to demand that she give you that divorce.

CARL: And?

RACHEL: She refused.

CARL: But you went to her? Does that mean we have a chance?

RACHEL: It means that I don't want to leave our future up to her.  
FADE OUT

SCENE FOUR

Several hours later  
(The scene shifts to the Carlino home. Joe, Paulina, Sofia, Remy,   
Dante, Ryan Gabriel and Derek are seated around the dinner table.)  
DEREK: I really appreciate your having me over for supper so often.

JOE: I told you, you're family.

DANTE: That's right, Uncle Derek.

PAULINA: You hear that?

DEREK: (smiling) "Uncle Derek". I like the way that sounds.  
FADE OUT

  
SCENE FIVE: CLOSING SCENE  
(The scene shifts to Josie and Gary's house. Josie and Gary are just starting supper.)

GARY: Anything interesting happen at the 2-3 today?

JOSIE: Adams almost caught me trying to find something I can use to stop the investigation against Joe.

GARY: What if he actually had caught you? Do you think he'd tell Joe?

JOSIE: I don't know. I mean, Adams wants Joe to stay as much as I do, but

GARY: But he might not do something he knew Joe wouldn't approve of.

JOSIE: You don't think I should be doing this, either, do you?

GARY: I'm not sure. I mean, what you want to do is blackmail, but then again,  
if Joe lost his job, it would a disaster for Bay City.

JOSIE: Exactly. (Doorbell rings.) I'll get it. (Gets up, leaves room,  
returns holding an envelope. She is fuming.)

GARY: What's wrong?

JOSIE: Everything! I have to testify against Joe at the hearing!  
(Throws envelope on floor.)  
FREEZE FRAME  



	30. Episode 30

This episode takes place on the day after the previous one.  
  
SCENE ONE  
The scene is the Joe's office at the 2-3. Joe and Josie are inside, talking.)

JOSIE: I can't believe Grant and Commissioner Walters are making me testify against you.

JOE: Well, we should have expected it, knowing Grant as well as we do.

JOSIE: But it isn't right! It just isn't right!

JOE: Josie, I want you to promise me something.

JOSIE: Sure. What is it?

JOE: No matter what you are asked tomorrow, I want you to tell the truth.

JOSIE: Exactly how truthful do you want me to be?

JOE: Just tell the truth, no matter what.

JOSIE: Are you telling me to testify against you?

JOE: No. You've already been ordered to do that. I'm just telling you to   
tell the truth.

JOSIE: But you are in all this trouble because of me.

JOE: Josie, you've got to stop blaming yourself.

JOSIE: But if I hadn't gone to meet the phone stalker on my own...

JOE: He would have made his accusations against me anyway. And have you noticed something?

JOSIE: What?

JOE: Ever since you arrested him, there haven't been any more of those phone calls.  
FADE OUT

SCENE TWO  
(The scene shifts to an undisclosed location. Grant is talking with  
Chip Rayburn.)

CHIP: I would have loved to see the look on Josie Sinclair's face when  
she got that subpoena.

GRANT: Yes, I think that having her testify against her beloved captain  
is a nice touch of irony.

CHIP: Things are going even better than we planned when you had me make  
those phone calls.

GRANT: (smiling) "You don't know where, and you don't know when." Of course,  
it wasn't necessary for you to post that link.

CHIP: It speeded things up, didn't it?

GRANT: Well, perhaps it did. Calling Josie soon afterwards  
was good timing.

CHIP: There's just one thing I don't understand. How did you get Josie's  
phone number?

GRANT: Someone at the phone company owed me a favor.

CHIP: And Josie fell right into our trap.

GRANT: (smugly, rubbing his hands together) She certainly did.  
FADE OUT

SCENE THREE

(The scene shifts to Foster Park. Paulina is wheeling Angela Rose in her carriage.  
Sofia is holding Ryan Gabriel's hand. Dante is skipping back and forth between them.)

SOFIA: Are you sure they promised to meet you here?

DANTE: Yes, Aunt Sofia, I'm sure.

PAULINA: I think I see them now. (A woman appears, pushing a child's wheelchair. As they  
get closer, we see that they are Rita and Bonnie. Greetings are exchanged. All head  
for an empty bench. Paulina, Sofia and Rita sit down.)

RYAN GABRIEL: (to Bonnie) Why are you in that chair? (Bonnie doesn't answer.)  
Why don't you walk? (Bonnie still doesn't answer.)

DANTE: Can I tell him?

(Rita and Bonnie nod "yes.")

PAULINA: (bends down, whispers to Dante) Remember, he is only three years old.

DANTE: (to Ryan Gabriel) Bonnie got hurt real bad a few months ago, and she can't walk any more.

RYAN GABRIEL: (wide-eyed) Never again?

DANTE: (seriously) Never again. But that doesn't matter. She's always going to be my best friend.  
FADE OUT

  
SCENE FOUR  
(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are seated at a table, facing each other.  
They have their food and their tea in front of them.)

GRANT: In just one more week, I should have complete control of the Bay City Police Department.

CECILE: Really?

GRANT: (smugly) Yes. Joe Carlino's hearing begins tomorrow.

CECILE: But how can you be sure that he will lose  
his shield?

GRANT: Well, of course, nothing is completely guaranteed, but let's just say that I know,   
beyond  
a reasonable doubt, that he will be out of a job  
in a very short time.

CECILE: And how do you know that?

GRANT: Let's just say that I have friends in  
strategic places.  
FADE OUT

SCENE FIVE  
(The scene shifts to the squad room at the 2-3.  
Joe is talking with a group of officers,  
including Josie, Toni, and Adams.)

JOE: As you know, my hearing begins tomorrow.  
Now, there is a chance that I will lose my shield.

ADAMS: If they fire you, we walk.

(Other officers nod in agreement.)

JOE: I don't want you to do that. No matter what  
happens to me, I want you to stay on your jobs and be the best cops you can be.

JOSIE: But

JOE: Listen to me. You are not serving me. You  
are serving the citizens of Bay City. And if I  
lose my shield, we all know that Grant  
and the Commish will be the ones   
to pick my successor.

TONI: And it will probably be somebody corrupt.

JOE: Exactly. And that is why Bay City will need  
good cops more than ever. I want people to be  
able to trust my officers, even if I am no longer your captain. So, do you  
guys promise that you'll stay on the job, no matter what?

JOSIE: I will.

TONI: So will I.

ADAMS: Me too.

(All make similar promise)

JOE: Look, maybe I won't even lose my shield. Don't forget, Cass is   
representing me, and he's the best.  
FADE OUT

SCENE SIX

(The scene shifts to Foster Park. Rita, Paulina, and Dante are sitting on a bench. Paulina is jiggling Angela Rose's baby carriage.  
Dante and Bonnie are  
looking at the picture book, MAKE WAY FOR DUCKLINGS.  
Sofia is pushing  
Ryan Gabriel on one of the "baby swings".)

BONNIE: (to Dante) I love this book. The drawings help me when I make models of ducks.

RITA: (to Paulina) Before you know it, you'll be putting Angela Rose on those swings, and  
Ryan Gabriel will be on the big swings.

BONNIE: I wish I could go on the swings, like I used to before I got hurt.

(A woman comes into view, walks towards bench)

WOMAN: (to Bonnie, in a syrupy, pitying tone of voice) Why, you poor little thing!

DANTE: (angrily) She's not a thing! She's a girl!

WOMAN: Fresh kid.

RITA: He's not fresh; he's right. My daughter is  
not an object of pity.  
She is a little girl who  
just happens to be in a wheelchair.

WOMAN: But she can't run around and play like her little friends, can she?

DANTE: Maybe Bonnie can't walk, but we play together every day.

PAULINA: I have an idea. Why don't we get Sofia and Ryan Gabriel and go feed   
the ducks?

(Dante and Bonnie start cheering.)  
RITA: (thinking) I'd love to push that woman into the pond.  
FADE OUT

SCENE SEVEN: CLOSING SCENE  
(The scene shifts to Josie and Gary's bedroom that night.)  
JOSIE: I'm not looking forward to tomorrow. I am  
 _so_ not looking forward to tomorrow.

GARY: It's going to be rough for you, testifying against Joe.

JOSIE: Especially since the reason he's been charged with dereliction of   
duty is because he didn't report me and Toni that time when we went after   
Rayburn on our own.

GARY: Who would have thought that would come back to haunt you guys?

JOSIE: And I never found anything I could use to (hestitates) well, you know.

GARY: Blackmail Walters?

JOSIE: I hate the way that sounds, but, yes.

GARY: So there's nothing you can do to stop this.

JOSIE: Don't be too sure.

GARY: What do you mean?

JOSIE: Well, I sent him an e-mail warning him that unless he calls off the   
hearing, and drops all the charges against Joe, there will be a   
very ugly rumor on the Internet.

GARY: I don't know about this.

JOSIE: Don't worry, there's no way I can be caught. Nobody even knows that I  
set up an account on that computer.  
And as soon as that account serves its  
purpose, I will close it.

GARY: I'm not sure you should be doing this.

JOSIE: Desperate situations call for desperate measures.  
FREEZE FRAME  



	31. Episode 31

This episode takes place the day after the previous one.

  
SCENE ONE  
(The scene is Josie and Gary's dining room. The radio is on; sound is indistinct.  
Josie and Gary are seated at the table, facing each other. They each have a plate of bacon and scrambled eggs  
and a cup of coffee in front of them. There is a plate of buttered toast in the middle of the table. Gary takes a piece  
of toast and bites into it. Josie just picks at her eggs.)

GARY: What's wrong, Josie? Why aren't you eating?

JOSIE: How can I eat at a time like this? I have to testify against Joe today, and I don't see how I can do that.

GARY: I know, but you really have no choice.

JOSIE: I can refuse to answer.

GARY: Well, what did Joe tell you to do?

JOSIE: He said I should tell the truth, no matter what I am asked.

GARY: Then that's what you have to do.

JOSIE: I know.

(For a few seconds, Josie and Gary are busy eating, and we can hear the radio.)

MALE ANNOUNCER: Sculptress Rachel Cory.

JOSIE: Sculptress? Rachel isn't going to like this.  
FADE OUT  
  
SCENE TWO

(The scene shifts to the squad-room of the 2-3. Joe and Toni are standing near the coffeepot, drinking coffee and talking.)

TONI: I'm just glad I wasn't called to testify against you.

JOE: But Cass has asked you to testify in my defense, hasn't he?

TONI: Yes, but and if he hadn't, I'd _offer_ to do it.

(Adams approaches.)

JOE: I know you would.

ADAMS: (pouring cup of coffee) There isn't an officer here who isn't ready to testify for you.

TONI: That's for sure. Sometimes I can't believe what I did back in '99.

JOE: That's water under the bridge, Toni.

TONI: But it almost ruined your career. And now, you might lose your shield because you protected Josie and me in '97.

JOE: And if I had to do it over again, I'd do the exact same thing.

ADAMS: Rather than let a rapist go free?

JOE: You got it.  
FADE OUT

SCENE THREE

(The scene shifts to the Cory-Hutchins home, about ten minutes later. Rachel is on the phone.)

RACHEL: I have asked you repeatedly not to refer to me as a sculptress.  
I am a _sculptor_. If I had the same job as you, would you call me an "announceress?"

ANNOUNCER: Probably. After all, you _are_ a woman.

RACHEL: Yes, I am a woman. A woman artist. A sculptor. If you must use labels, please label  
me by my genre, not by my gender.

ANNOUNCER: Sorry if it offends you, but on _my_ show, _I_ will decide what terminology to use.

RACHEL: And just what would you call a woman doctor, Fred? A doctoress?

ANNOUNCER: Where do you get that "Fred" business?

RACHEL: Oh, sorry. Would you prefer _Mister_.Flintstone?  
FADE OUT

SCENE FOUR

(The scene shifts to a hearing room, several hours later. Cass and Joe are seated at a  
table. Commissioner Walters and the Internal Affairs officers are present, as are several  
officers from the 2-3. These officers include Josie, Toni, and Adams, who are sitting together.  
Grant is standing next to a chair in the middle of the room.)

GRANT: This hearing has been convened to determine whether Joe Carlino should be removed as police captain for dereliction of duty.

CASS: (getting to his feet) Objection!

GRANT: Mr. Winthrop, surely you know that you cannot object before the procedings even begin.

CASS: These procedings are what I object to. The very idea of charging Joe Carlino with  
(indicates quote marks with his fingers) "dereliction of duty" is patently ridiculous.

GRANT: Be that as it may, I intend to prove that Captain...no, he is not worthy of the title...that Joe Carlino has on more than one occasion covered  
up wrongdoing, serious wrongdoing, on the  
part of officers under his command.

(Camera focuses on Josie, Toni, and Adams)

JOSIE: (aside, to Toni and Adams) Before Grant is through, he's going to make our entire precinct seem corrupt.

ADAMS: "Unworthy to be called "Captain", my foot.

TONI: I can think of someone who is unworthy to be addressed as "Your Honor".

(Camera focuses back on Grant)

GRANT: I'd like to hark back, if I may, to 1997, when... but no, my first witness can describe those events much  
better than I can. After all, he was the victim. I call Charles, better known as "Chip", Rayburn.  
FADE OUT

SCENE FIVE

(The scene shifts, briefly, to the kitchen at CARLINO'S. Paulina is chopping vegetables as if they were Grant and Commissioner Walters.)

PAULINA: (under her breath) My husband could lose his job, and I can't do anything about it. I can't  
even be there, because nobody not involved with this case may attend  
the hearing, not even family  
members. Nice touch, Grant.  
FADE OUT

SCENE SIX

(The scene shifts back to the hearing room.

Chip Rayburn is on the chair in the center of the room. Grant is facing him.)

GRANT: Forgive me if I bring up something painful or embarrassing,but isn't it  
true that you suffer from fear of heights?

CHIP: Yes.

GRANT: And were officers Burrell and Sinclair aware of this at the time in question?

CHIP: Yes, they were.

GRANT: And what did they do to you?

CHIP: They kidnapped me, they took me to my own apartment, and then they... oh, God!  
They hung me out of a sixth floor window.. even now, I have  
nightmares about it (covers his face with his hands) I'm sorry... I can't

GRANT: (sympathetic tone of voice) Take all the time you need. I understand that this is difficult  
for you to talk about, but it is essential that we get your testimony on record, so that what happened to you  
can never happen again.

CHIP: (takes a few deep breaths) I'm all right now.

GRANT: Are you sure you are able to continue?

CHIP: Yes, Your Honor.

GRANT: Besides the incident you have already described, did anything  
else happen?

CHIP: Yes. Officers Burrell and Sinclair took me to the railroad tracks, and threatened to  
(hesitates, seems upset) they threatened to throw me under a train unless I confessed to rape!

GRANT: (thinks) I told him not to use the word "rape". (Aloud) Did you believe that your life was in danger?

CHIP: Yes, I did.

GRANT: So you confessed under duress?

CHIP: Yes.

GRANT: And was Joe Carlino aware of what the officers involved did to  
force this confession?

CHIP: Yes.

GRANT: Thank you. No further questions.

CASS: I have no questions for this witness.

GRANT: In that case, I call Josie Sinclair.

JOSIE: (to Toni and Adams) Root canal work would be fun compared to this.

GRANT: Detective Sinclair, we are waiting.

(Josie gets up, and walks to where Grant is standing.)

Please have a seat, Detective Sinclair.

JOSIE: I want you and everyone in this room to know that I am giving this testimony under protest. (sits in chair) Now, I'd  
like to swear

GRANT: That won't be necessary This is just a hearing.

JOSIE: Let me finish, Grant. I'd like to swear at  
you, at Commissioner Walters, and at Internal Affairs for what you are doing.

GRANT: What we are doing, my dear young woman

JOSIE: Don't patronize me!

GRANT: What we are doing is giving Captain Carlino a chance to defend himself.  
And it would behoove you to show me some respect. After all, I am the mayor.

JOSIE: Unfortunately.

GRANT: Captain Carlino, will you please instruct your officer not to interrupt me?

JOE: Josie is not on duty right now. She is speaking on her own.

GRANT: And here we have a prime example of the insubordination Joe Carlino  
lets his officers get away with.

CASS: I haven't seen any insubordination here. I mean, Joe hasn't given Josie any orders.  
(whispers to Joe) Now might be a good time to do just that. Call Josie over here.

JOE: Josie, will you come here a minute?

JOSIE: Yes, sir. (gets up, approaches table where Joe and Cass are seated.)  
What is it?

JOE: Cass advised me to call you over here.

CASS: Josie, I know how you feel about Grant, and about these proceedings.  
Believe me, I feel the same way, but this is no time to antagonize His Horror... I mean, His Honor.

JOE: You were right the first time. Now, Josie, I want you to go back, and tell  
Grant that you aren't going to interrupt him any more.

JOSIE: Yes, Sir. (returns to where Grant is standing)

GRANT: Well, we've wasted quite enough time. Shall we proceed?

JOSIE: I promise not to interrupt you any more.

GRANT: Is that an apology?

JOSIE: (glancing at Joe, who mouths the words "Say yes.")  
Yes, Your Hor (coughs)Your Honor. (sits down)

GRANT: We have heard Mr. Rayburn's testimony about the events leading to his confession, his _forced_ confession. Was his description accurate?

JOSIE: (mumbles) Yes, it was.

GRANT: Speak up so we can hear you.

JOSIE: Yes.

GRANT: And yet, there is no record of your actions anywhere.  
No record, and no indication that any disciplinary action was taken by your captain.

JOSIE: Just because

GRANT: You promised not to interrupt, and I haven't finished speaking.

JOSIE: Sorry. I thought you had.  
  
GRANT: I shall overlook it this time. Now, not only is there no record of your actions, but it _is_ on record  
that you and Officer Burrell were on vacation.... with pay. Is that correct?

JOSIE: Yes, but

GRANT: "Yes" is quite sufficient. So, there is no indication that you were punished in any way for  
your actions. Not even the words "leave of absence", which _could_ be interpreted as a euphemism for suspension.

JOSIE: There was no record, but

GRANT: There was no record. Precisely.

JOSIE: Please, may I say something? Even though it didn't go on our records,  
Joe punished us for our actions.

GRANT: That is irrelevant. The issue here isn't< whether or not you and Officer Burrell were  
punished. The issue is whether or not there was a cover-up. Now, answer "yes" or "no"; did Carlino  
report your actions?

JOSIE: (reluctantly) No, he did not, but that was because

GRANT: So your answer is no, there is no record of your actions, and no  
indication that you and Officer Burrell were disciplined.No further questions.

CASS: I have some questions for Detective Sinclair.  
(Walks to middle of room, faces Josie)  
Now, even though (deliberate emphasis) _Captain_ Carlino did not report your actions,  
did he give you any indication that he approved of them?

JOSIE: Absolutely not.

CASS: What did he do?

JOSIE: He reprimanded us, and he disciplined us.

CASS: In other word, you did not get away with your actions?

JOSIE; No, we did not.

CASS: No further questions.

GRANT: In that case, we are done for today. This hearing will continue tomorrow.  
FADE OUT

SCENE SEVEN: CLOSING SCENE  
(The scene shifts to the hall outside of the hearing room. Josie, Toni, and Adams are standing together, talking.)

ADAMS: The Commish is still inside, talking to IA.

TONI: I wonder why. The hearing isn't over yet.

JOSIE: I'm going to sneak in and see if I can find anything out.

(Josie slips back into the hearing room. Nobody notices.)

WALTERS: Now remember, this hearing is just a formality. The outcome has already been decided.

IA OFFICERS: (all talking at once) We know. Got it. We'll vote the way you told us to.

(Josie, wide-eyed, slips out of the room.)  
FREEZE FRAME  



	32. Episode 32

This episode begins one hour after the previous episode ended.

SCENE ONE

(The scene is CARLINO'S. Josie, Toni, and Adams are at a table together, picking at their food.)

JOSIE: I never want to go through that again as long as I live.

ADAMS: Testifying against Joe?

JOSIE: Exactly. It almost killed me.

TONI: The worst part is, the only reason he's in all this trouble is because he protected Josie and me

ADAMS: No. He's in all this trouble because Grant will do anything to ruin Joe's career.

TONI: (bitterly) Even if it means using the testimony of a convicted rapist.  


ADAMS: How low can one man sink?

JOSIE: (bitterly) Don't forget, this is _Grant_ we are talking about.

TONI: So do we tell Joe what you heard Commissioner Walters say to the IA officers?

JOSIE: (thinks it over for a minute) No. I think some of us should go to the Commish, and try to talk him into dropping the charges.

TONI: And if he refuses?

JOSIE: Then I'll tell Cass what I heard, so he can bring it up at the hearing.  
FADE OUT

SCENE TWO

(The scene shifts to the hallway outside of the hearing room. Grant, Commissioner Walters, and  
Chip Rayburn are standing together, talking.)

CHIP: So how was my testimony?

GRANT: Well, You _did_ slip up a bit.

WALTERS: But you still got a great deal of sympathy from the IA officers.

GRANT: Yes, right now they are thinking of you as the victim of police brutality.

CHIP: There's just one thing I don't understand. Since we want to make Joe Carlino look bad, why is the hearing closed  
to the general public?

GRANT: Because he'll look worse when the results are made public if the citizens of Bay City don't  
get to hear him defend himself.

(Brief dissolve, and then the words ONE HOUR LATER appear on screen. Grant is no longer in theCommissioner's office. Josie, Toni, Adams, and several other officers from the 2-3 are inside with the Commish.)

ADAMS: We've come to ask that you discontinue the hearing against our captain.

TONI: And that you dismiss all charges immediately.

JOSIE: It's not right for a man like Joe Carlino to have to fight for his shield.

ADAMS: When his predecessor, Gabe McNamara, was murdered, Joe was the  
one who held us all together...even before he was named as captain.

JOSIE: It just wouldn't be right for Joe to lose his shield.

OTHER OFFICERS: (all talking at once) No, it wouldn't.. Bay City needs Joe Carlino... drop the charges

WALTERS: No. The charges are not going to be dropped. The hearing will continue tomorrow, as scheduled.  
FADE OUT

SCENE FOUR

(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are at their favorite table, eating spareribs  
and egg-rolls, and drinking tea. They are completely unaware that Cindy is seated at the table behind theirs.)

CECILE: I just love these egg rolls.

GRANT: And I'd sell my soul for these spareribs.

CINDY: (under her breath)You can't sell what Satan already owns.

CECILE: So how did the hearing go?

GRANT: Splendidly. My first two witnesses really made Carlino look bad, one willingly, I may even  
say with pleasure, and the other reluctantly.

CECILE: Oh? And who were these witnesses?

GRANT: One of them was a victim of Joe Carlino's dereliction of duty.

CECILE: And the other?

GRANT: You might call her a beneficiary.

CECILE: One of the cops whose wrong-doings Joe covered up?

GRANT: Yes; his little pet detective, Josie Sinclair.  
FADE OUT

SCENE FIVE  
The next afternoon

(The scene shifts to the hearing room, where the hearing is about to resume. Grant is  
standing precisely where he stood the day before. Joe and Cass are at the same table. Josie, Toni,  
and Adams are seated together, looking grim.)

GRANT: Yesterday, I proved that Joe Carlino has been guilty of dereliction of duty. I established conclusively that  
he covered up serious wrong-doing, one might even go so far as to say _brutality_ , on the part of two of his officers.

CASS: Objection! There has been no proof of brutality. Your witness never once claimed that he had actually been struck.

GRANT: No, I'll concede that.

CASS: Well, thank you.

GRANT: However, brutality is not necessarily physical. We also recognize mental and emotional abuse,which Officers Burrell and Sinclair clearly _did_ inflict on their victim.

JOE: (standing up, furious) Now, hold on! My officers are not under investigation. I am.

GRANT: Sit down, Carlino.

JOE: Not until I have my say. You seem to have forgotten that Chip Rayburn committed several rapes. He was the criminal, not Officers Burrell and Sinclair.

GRANT: So you approved of their actions? No; don't answer that. Your actions, or should I say  
lack thereof, speak for themselves. And now, I call my next witness, Tito Banecek.

(Tito approaches from the back of the room, where  
he'd been sitting, unnoticed by anyone else.)

CASS: (standing up) Objection! Tito Banecek has no bearing on this matter.  
He wasn't even in Bay City when the incident in question occurred.

GRANT: No, but he is a prime example of Joe Carlino's hypocrisy.  
(Turns to Tito)  
Joe Carlino is your father, is that correct?

TITO: Yes.

GRANT: And is he aware of that fact?

TITO: Yes, he is.

GRANT: Now, Joe Carlino has often said how important family is to him. You are his son, and therefore, you are a  
vital part of his family. Has he ever once shown you the slightest bit of affection?

TITO: No. I think he hates me.

GRANT: (speaking in tones of moral indignation) Did you hear that? Joe Carlino hates his own son.

(Camera focuses on Toni, Josie, and Adams.)

JOSIE: That from a man who let _his_ son think he was dead.

(Camera focuses on Joe and Cass.)

CASS: (to Joe) And when was the last time Grant saw _his_ son?

GRANT: I have no further questions.

CASS: I have a question for this witness.

GRANT: (expansively) Why, certainly. Be my guest.

(Camera focuses on Toni, Josie, and Adams.)

TONI:(mockingly) "Be my guest." Like he's doing Cass a favor by allowing him to question the witness.

CASS: Isn't it true that Joe Carlino only recently learned that he is your father?

TITO: (reluctantly) Well, yes.

CASS: And didn't he learn this at the same time that everyone else in Bay City did?  
And wasn't it revealed in a way calculated to present Captain Carlino in the worst possible light?

GRANT: That is quite enough. This line of questioning has nothing to do with the matter at hand.

CASS: For once, I agree with you. The parentage of this witness has nothing to do with the matter at hand.

GRANT: On the contrary. It speaks to the character, or lack thereof, of Captain Joseph Carlino. And we  
are finished for today.

(Murmurs throughout the room)

CASS: This is ridiculous! You called only one witness today!

GRANT: True, one very effective witness. We are adjourned until tomorrow at this time.

(All walk out into the hall. Josie walks over to Joe.)

JOSIE: Did you notice that Grant used the phrase "lack thereof" twice?

(Tito approaches)

TITO: Joe, could I talk to you?

JOSIE: (discreetly) I'll see you later, Joe. (Walks towards Toni and Adams.)

JOE: What do you want? Don't forget, you just testified that you think I hate you. Is that what you really think?

TITO: Well, don't you?

JOE: Four years ago, I hated you for what you did to Paulina, and to Remy.

TITO: What about now?

JOE: To tell you the truth, I'm not really sure how I feel about you.  
FADE OUT

SCENE SIX

One hour later

(The scene shifts to the "computer room" at the 2-3. Josie is at the computer,  
typing. She moves slightly, just enough for us to be able to see the following message:  
Walters, unless you drop all charges against Captain Joe Carlino, that rumor I mentioned before will  
(footsteps are heard approaching.)

JOSIE: Damn! I'd better get rid of this. (Josie moves,  
and we can no longer see the screen. She clicks the mouse. Footsteps fade away.  
Josie gets up and walks out of the room. We can now see that she has not deleted the mailbox. She has only minimized it.) [OOPS!]  
FADE OUT

SCENE SEVEN  
(The scene shifts to the exterior of a two-story house. Commissioner Walters walks up to the door, puts his key in the lock, opens the door.)

WALTERS: (walks into front hall. There is a phone in the hall.) I'm home!  
  
(A short, slender woman with shoulder-length, auburn-colored hair comes into the front hall, followed by a girl in her early teens with the same color hair. )

WOMAN: How was your day?

WALTERS: Grant put Tito Banecek on the stand today. He really made Joe Carlino look bad, Marge.

GIRL: Do you think he really is corrupt, like Mayor Harrison says?

WALTERS: Well, Peggy, that's what the hearing is supposed to determine. (Phone rings.)

PEGGY: I've got it. (picks up receiver) Hello?

(pause) Hi, Greta. (pause) I know. It's been more than a month now. (pause) I wish I knew. (pause) I  
I'll ask him. (puts hand over mouthpiece) Dad?

WALTERS: What, Sweetheart?

PEGGY: When are we getting a new computer? I mean, it's more than a month since our old one died.

WALTERS: And you've been in mourning ever since. Well, As soon as your mother and I have time to shop for one,  
we will. Things have been hectic lately.

MARGE: Well, I think we should do it as soon as possible. I don't like being without a computer, either.  
Who knows what important e-mails we might have missed already?  
FADE OUT

SCENE EIGHT: CLOSING SCENE

(The scene shifts to the computer room at the 2-3. Joe walks in.)  
JOE: (to himself) Maybe playing a few games will relax me. (Sits at computer, looks at screen.)Now, what's  
that mailbox icon doing here? Nobody's supposed to send or receive mail from this computer. I'd better check this out.  
(Points and clicks. We do not see what he is reading.) No! Oh no! (Covers his face with his hands.) One of my officers is resorting to (chokes over the word) blackmail!  
FREEZE FRAME  



	33. Episode 33

**Notes for the Chapter:**

> The interviewer in this episode is NOT my floating OC, Helen Barlowe Rochester.

This episode begins the morning after the previous one ended.  
It is now the second week in July, 2003.

  
  
SCENE ONE

(The scene is Cass Winthrop's law office. Cass and Joe are inside.)

CASS: So your mind is made up?

JOE: Yes. This is the only ethical thing for me to do now.

CASS: So when are you going to talk to the Commissioner?

JOE: Right away, but I felt that I owed it to you to talk to you first, after everything you've done for me.

CASS: I appreciate that. I also hate the decision you've made.

JOE: Me too, but it's the only thing I _can_ do, now that I know what's been going on. (Sighs) I never would have believed that one of my officers would resort to blackmail.

CASS: How many e-mails were there?

JOE: Well, I found copies of two of them in "Sent Mail." They were both signed "Firefly789"

CASS: Do you have any idea who Firefly789 is?

JOE: No, I don't, and frankly, I don't want to know. But I do know who it couldn't possibly have been.

CASS: Who?

JOE: Josie. She would never do a thing like that.  
FADE OUT

SCENE TWO  
(The scene shifts Josie and Gary's house. Josie and Gary are talking.)

JOSIE: It should be over soon, especially after the last e-mail I sent Commissioner Walters.

GARY: I'm still not sure about this.

JOSIE: I know it's not the most ethical thing I've ever done.

GARY: That's for sure.

JOSIE: But if it keeps Joe from losing his shield, it's worth it.  
FADE OUT

SCENE THREE  
(The scene shifts to the office of Commissioner Walters. Joe is inside with the Commish.)

JOE: I just found out what's going on.

WALTERS: Then you know that you are not in any danger of losing your shield?

JOE: Yes, and I also know why.

WALTERS: How did you find out?

JOE: Does it matter?

WALTERS: I guess not. Listen, do me a favor and don't say anything about this at the hearing.

JOE: There won't be any hearing today. It's over.

WALTERS: What do you mean?

JOE: I can't and I won't hold onto my shield this way. I'm handing in my resignation.

WALTERS: There is no need for you to do that.

JOE: Yes, there is, but I do have one favor to ask you.  
FADE OUT

SCENE FOUR

25 minutes later

(The scene shifts to the squad-room of the 2-3. Joe is talking with a group of officers, including Josie, Toni, and Adams. All are stunned by what Joe has just told them.)

ADAMS: You're kidding, right?

JOE: I've never been more serious.

TONI: But why? What made you decide to hand in your resignation?

JOE: I found out something that made it necessary.

JOHNSON: But what could make you quit? You've been fighting so hard to _keep_ your shield.

JOE: It's best that I don't tell you.

ADAMS: But, Joe...

JOE: Trust me on this, okay?

TONI: This isn't right. Who knows what kind of a captain we'll get now?

JOE: Don't worry. I took care of that. Your new captain is someone you know and love.

ADAMS: One of us?

JOE: Absolutely. Effective immediately, the captain of the 2-3 is Josie Sinclair.

JOSIE: (shocked) _Me_?

JOE: Yes, Josie...I mean Captain Sinclair. (looks at other officers) Now, I don't have the right to give you guys orders   
any more, but I'd like you to promise me that you will give your new captain all the support she needs. (Walks over to Josie, whispers)  
Jos, let's go into my...your office. I have some information you may need.

JOSIE: Yes, sir.

JOE: Josie, you'll have to get used to the fact that I'm a civilian now.

JOSIE: It doesn't feel right.

(They go into what is now Josie's office. Joe closes the door and the blinds.)

JOE: Now that you are the captain of the 2-3, there is something you need to know.

JOSIE: What?

JOE: You may get a confession within the next few days, and I want you to be prepared to handle it.

JOSIE: What sort of a confession? (thinking) Please don't let it be what I think it is.

JOE: I found out that somebody has been (hesitates) I can hardly say it, but somebody  
from this precinct has been sending Commissioner Walters threatening e-mails.

JOSIE: Are... are you sure?

JOE: Yes, I'm sure.

JOSIE: Do you know who it was?

JOE: I have no idea. But I closed the account, so whoever it was can't send any more of those messages.   


JOSIE: Joe, did you cancel the screen-name and resign to get the one who did it to confess?

JOE: No, Josie. I resigned because, if one of my officers can resort to blackmail, then  
I haven't been doing a good job as captain of this precinct. (sighs) Now, I'm going to give you a little advice.

JOSIE: What?

JOE: Don't tell anybody about the blackmail, unless the culprit decides to come forward. The last thing you need right now is for your officers to be suspicious of each other.

JOSIE: And if someone comes forward, what should I do? (thinks) Who am I kidding? What I should do is tell Joe the truth.   
But if I do, he'll never trust me again.

JOE: That is something only you can decide, Captain Sinclair.  
FADE OUT

SCENE FIVE

(The scene shifts to Grant's office at City Hall, one hour later. Grant is talking on the phone)

GRANT: That's right. I will be making a speech in one hour. (pause) No, I can't tell you what's going to be about,  
but I'll you this much: this is a speech I'm really going to enjoy making. (pause) That's right. In one hour. (pause) Of course   
you will. (hangs up, rubs his hands together gleefully and triumphantly.) Finally, _finally_ Joe Carlino is out as police captain.   
And with that hindrance out of my way...  
FADE OUT

SCENE SIX  
Half an hour later

(The scene shifts to the squad-room at the 2-3. Josie is talking with "her" officers.)  
JOSIE: Look, I want Joe back as much as you guys do.

ADAMS: We all want him back, but I think I speak for everyone when I say that, until he does come back

TONI: If he ever comes back.

ADAMS: Okay, so we have to face the fact that Joe might not come back. But I think we'd all rather have Josie  
as our captain, than whoever Grant or Commissioner Walters would have shoved down our throats.

(Everyone agrees.)

JOSIE: Okay. I appreciate that. Now, as Joe would say, listen up. Now that Joe has resigned, money will probably be tight for him and   
his family, so I think we should all eat at CARLINO'S as often as possible.

(Grant walks in.)

GRANT: And speaking of Carlino, I will be making a speech in half an hour, and I expect all of you to listen to it.

ADAMS: We don't want to hear anything you have to say, do we, guys?

ALL SPEAKING AT ONCE: No. Uh uh. No way. Nope.  
GRANT: Let me re-phrase that. You _will_ have the radio on, and you _will_ listen to my speech.

JOSIE: We don't have to listen if we don't want to.

GRANT: Oh, really? May I remind you, _Captain_ Sinclair, of two things? One: I am your mayor, and therefore your boss.   
Two: Joe Carlino isn't here to protect you any more.

Clock appears at top right of screen, moves ahead thirty minutes.

JOSIE: (turning on the radio) We may as well hear whatever garbage Grant is going to spout.

ADAMS: As long as we don't have to eat while we're listening.

GRANT'S VOICE: As you undoubtedly know, there has been an investigation to determine whether Police Captain Joe Carlino was   
guilty of dereliction of duty. Well, the matter came to a conclusion today

TONI: (bitterly, speaking at the same time as Grant:) Boy, Grant is having a field day.

ADAM: It's a good thing I'm not hearing that speech in person. I don't know if I'd be able to keep myself from knocking his teeth out.

GRANT'S VOICE: (heard while Toni and Adams are speaking) when Captain Carlino handed in his resignation. That, to me, establishes  
his guilt conclusively.

FEMALE VOICE: How so?

GRANT'S VOICE: (patronizingly) It should be obvious to you, my dear. Joe Carlino knew that his corruption was about to be exposed,  
and so he resigned in order to save himself any further humiliation.

FEMALE VOICE: Why didn't he resign before the hearing began?

GRANT'S VOICE: Because until I presented my case against him, he was arrogant enough to think he would be cleared.

FADE OUT

SCENE SEVEN: CLOSING SCENE

(The scene shifts to "Josie's" office, one hour later. Josie sitting at the desk, listening to the radio.)

MAN'S VOICE: Today Police Captain Joseph Carlino, who had been facing charges of dereliction of duty, handed in  
n his resignation. The question is, why? What made Joe Carlino, a man with an untarnished reputation, suddenly quit his job?  
Could it be that he had us fooled for five and a half years? _Is_ Joe Carlino, in fact, corrupt?

JOSIE: (covering her face with her hands) What have I done? Oh, God, what have I done? (lays her head on the desk and sobs.)  
FREEZE FRAME  



	34. Episode 34

This episode begins one week after the previous one ended. It is now  
the third week in July, 2003  
  
SCENE ONE  
(The scene is Cameron and Amanda's dining room. Cameron, Amanda, and Alli are eating bacon, scrambled  
eggs, and toast.)

CAMERON: I still can't believe Joe handed in his resignation.

AMANDA: It's been a week now, and we still don't know why he did it. He didn't even tell Paulina.

ALLI: I'll bet Josie knows. After all, Joe named her as his... as  
the new captain, so he probably told _her_ why he was quitting.

CAMERON: (to himself) I wonder

AMANDA: What?

CAMERON: (quickly) Nothing.

AMANDA: Are you sure? I mean, Josie was very quiet when she and Gary were  
over here last night.

CAMERON: I guess she's still not used to being the captain of the 2-3.

AMANDA: Maybe not.

ALLI: But wasn't she the acting captain a few years ago, when Joe went to  
Italy?

AMANDA: Yes, but that was different. She knew he was coming back.  
FADE OUT

SCENE TWO

(The scene shifts to Josie and Gary's dining room. Josie and Gary  
are eating waffles. Josie doesn't seem to have much of an appetite.)

GARY: What's wrong?

JOSIE: Everything. Just... everything. I tried to save Joe's career, and  
I ended up destroying it.

GARY: I have an idea.

JOSIE: Is it the same one you've had for the past week? You think  
I should come clean to Joe about all this?

GARY: Well, yes, I do.

JOSIE: I want to. Believe me, I want to, but...

GARY: But what?

JOSIE: What if it doesn't do any good? What if Joe is still out of  
a job, and I end up losing both _my_ job and one of my dearest friends?  
FADE OUT

SCENE THREE

(The scene shifts to an undisclosed location. We see the shadow of  
a woman talking on a cell phone.)  
WOMAN: You'e right, it's quite a coincidence should both have a relationship with them. (Pause) Actually,  
I'm not exactly on friendly terms with either one of them. (Pause) Of course you  
can confide in me. (Pause)  
You didn't! How naughty of  
you! How delightfully naughty! (Pause) Well, your secret is safe with  
me.

(Lighting changes, and we now see that the woman is Iris.)  
FADE OUT

SCENE FOUR

(The scene shifts to the squad-room at the 2-3, several hours later. Josie is talking  
with Toni and Adams. We don't hear their conversation. A female office about the same size as Josie, with light-brown hair approaches, looking upset.)

OFFICER: Josie...I mean Captain Sinclair, could I talk to you?

JOSIE: Of course, Edith. What's wrong?

EDITH: I really messed up.

JOSIE: Let's talk in Joe's...in my...in the office, all right?

EDITH: That would probably be best.

(They go into "Josie's" office. Josie closes the door and the  
blinds.)

JOSIE: Now, what's this about?

EDITH: I caught a woman robbing the covenience store on 14th Street.

JOSIE: (puzzled) So where is she?

EDITH: I had to let her go.

JOSIE: But why? What happened?

EDITH: (nervously) I was making the arrest, and she made a crack about Joe.

JOSIE: Just what did she say?

EDITH: That it looked awfully fishy for him to  
be able to choose the new captain when he was  
resigning under suspicion of wrongdoing.

JOSIE: Did she say anything else?

EDITH: She said that for all anyone knows, his family's restaurant is a front for something shady.  
That's when I lost control of myself.

JOSIE: Just how badly did you lose control?

EDITH: I slapped her.

JOSIE: You what?

EDITH: I slapped her. And then she threatened to press charges of brutality.

JOSIE: So you had to let her go.

EDITH: Yes, Captain.

JOSIE: Right. As much as I hate this whole situation, I _am_ the captain of this precinct  
now. And by the way, Edith, I understand why did what you did.

EDITH: You do?

JOSIE: If I had been there, I'd have wanted to knock her clear into Oakdale.

EDITH: Would you actually have done it?

JOSIE: I honestly don't know, but I hope not.(thoughtfully) After all, Joe never decked Grant, and,  
let's face it, he had plenty of provocation.

EDITH: More than I had.

JOSIE: That's right. Look, Edith, no matter what that woman said about Joe, your actions  
were wrong, so I have no choice but to...(hesitates) punish you. I'm placing you on suspension  
for two weeks.

EDITH: That's fair enough.

JOSIE: One more thing, Edith.

EDITH: What?

JOSIE: What happened today isn't the end of the world.

EDITH: Thanks for saying that.

(Josie opens door; Edith walks out.  
Josie shuts the door,and sits at "her" desk.)

JOSIE: (to herself) Josie Sinclair, you are nothing but a hypocrite, a damned, no-good  
hypocrite! (resolutely) Well, I won't be a hypocrite or a coward any more. (Picks up phone, presses buttons, then speaks.) Joe? It's Josie. (pause) Look, can you do me a favor? (pause) Can you meet me at the Commissioner's office in fifteen minutes? It's really important.  
FADE OUT

SCENE FIVE: CLOSING SCENE  
Fifteen minutes later

(The scene shifts to Commissioner Walters' office. Grant is inside  
with the Commish. There is a desk with a computer and a telephone on it.)

GRANT: I still say you shouldn't have let Carlino name his successor, since he was resigning  
under suspicion of wrongdoing.

WALTERS: Well, I wanted to give the appearance of being absolutely fair, no,  
generous, towards him.

GRANT: You may be right, at that.

(There is a knock at the door. Walters opens door. Joe and Josie are standing outside.)

WALTERS: (surprised) Come in.

GRANT: Well, well, if it isn't the ex-captain and his replacement. Ironic, isn't it?

JOE: What?

GRANT: That one of the officers you covered for is now the captain of the 2-3,  
and you are just a civilian.

JOE: Well, there's an up side to that, Grant.

GRANT: Oh, is there?

JOE: Yeah. I no longer work for you.

WALTERS: Captain Sinclair, will you tell me why the two of you are here?

JOSIE: I'd really rather not discuss it in front of Grant.

JOE: Discuss what in front of Grant?

JOSIE: Then again, I suppose it wil become public anyway.

JOE: Josie, what's going on?

JOSIE: You'll understand in a minute. (turns to the Commish) And after I tell you what I have to, I hope you'll reinstate Joe as captain of the 2-3.

JOE: Don't forget, Josie, I wasn't fired. I quit.

JOSIE: Yes, and it's all my fault.

JOE: What are you talking about, Josie?

JOSIE: I'm the one who sent those e-mails. (Turns to Walters) I'm the one who was (hesitates)  
blackmailing you.

JOE: Josie, are you making this up so I'll come back to the 2-3?

JOSIE: No. It's true. God help me, it's true.

JOE: All right, then what did the letters say, and how were they signed?

JOSIE: (trembling voice)The first one I sent said, "Unless you drop the charges against Captain Joe Carlino, there will be a very nasty rumor about you on the Internet. And don't try to trace this e-mail,  
or you'll be sorry."

JOE: If you're the one who sent that e-mail, what screen name did you use?

JOSIE: Firefly789

JOE: Oh, my God. It _was_ you. Josie, how could you do such a thing?

JOSIE: (beginning to cry) I was desperate. I thought it was the only way to get the charges dropped.

WALTERS: That's why you resigned? Because one of your officers was blackmailing me?

JOE: You knew that was the reason.

WALTERS: No, I had no idea. My computer died weeks ago, and I haven't gotten  
around to getting a new one.

JOSIE: (tearfully) You never got my messages?

WALTERS: No. If I had, I would have told Captain  
Carlino about them immediately. (Turns to Joe) And if you want your job back, it's yours.

GRANT: May I remind you that he was never officially cleared of the charges against him?

(Josie cries harder.)

JOE: (gently) Josie, come on, stop crying. (Josie continues crying.) Look, Josie, if you don't  
stop this crying, you'll make yourself sick.

(More tears and sobs from Josie.)

GRANT: (scornfully) Crocodile tears.

JOE: Shut up, Grant. ( Joe's voice becomes stern.) And Josie, you stop crying right now.  
That's an order.

WALTERS: Did you just say, "That's an order"?

JOE: Yes, I did.

WALTERS: Then I take it you're ready to resume command of the 2-3?

JOE: Yes, I am.

WALTERS: Well then, consider yourself reinstated.

GRANT: Now, wait a minute!

WALTERS: Face it, Grant. We lost.

JOE: (Takes Josie in his arms, speaks soothingly.) There, now. Stop crying. I know you're sorry for what you did.

(Joe strokes Josie's hair. Her sobs diminish until they stop altogether.)

GRANT: (digustedly) And _that_ is a prime example of Joe Carlino's weakness as a precinct commander.  
This officer of his has done something absolutely reprehensible, and he just coddles her.

JOE: I'm not coddling Josie. I'm holding her. Discipline can come later.

WALTERS: I'll leave her punishment up to you, Captain Carlino.

JOSIE: I'm ready to accept whatever punishment you feel is right.

JOE: Well, to be perfectly honest, Josie, I'm not sure what I'm going to do, but I _will_ take a  
few things into consideration.

JOSIE: Like what?

GRANT: What could possibly mitigate her actions?

JOE: (ignores Grant, speaks to Josie)You confessed voluntarily, you are really sorry, and you never actually _posted_ any rumor.

JOSIE: (gasps) Oh, no! I forgot all about it!

JOE: What is it, Josie?

JOSIE: I posted a rumor before the hearing ended!  
FREEZE FRAME  



	35. Episode 35

>This episode begins where the previous episode left off.

SCENE ONE

(The scene is the office of Police Commissioner Howard Walters. Joe, Josie, and Grant are inside with the Commish.)

JOE: What did you just say?

JOSIE: (between sobs) I posted a rumor on a message board.

WALTERS: My sister-in-law called the other day, and she mentioned something about a rumor. At the  
time, my wife and I decided to ignore it, because we thought it would die down. We haven't even mentioned 

it to our daughter.

JOE: Exactly what did your message say, Josie?

JOSIE: (takes a few deep breaths, stops crying.) "Is it true that a certain Bay City, Illinois police commissioner, initials H.W.,

has been frequenting several out-of-town places of questionable repute, and _not_ on police business?"

JOE: Josie, you didn't!

JOSIE: I posted it after I had to testify at the hearing.

JOE: I know how hard it was for you to testify against me, Josie.

GRANT: I hope you're not excusing her actions.

JOE: No, I'm not making any excuses for Josie, and I don't think she's making any excuses for herself, either.

(Cell phone rings)

GRANT: That's mine. (Takes out phone, presses button, speaks.) Yes? (pause) Where did you see this? (pause) Who sent it to you? (pause) Well,

this is very interesting. (pause) Of course I will look  
into it. And thank you for the  
information. (Puts away phone, looks at Josie) It may interest you  
to know, Detective Sinclair, that that call was about a certain Internet rumor about Commissioner Walters.

(Josie looks at the floor, but says nothing.)

JOE: Well, Josie, what do you think you should do about this?

GRANT: If you ask me, she should be publicly flogged.

JOE: Nobody asked you, Grant. I asked Josie what _she_ thinks _she_ should do about this.

JOSIE: The only thing I can think of is to go to the message board where I posted the rumor, and post a retraction.

GRANT: Well, that's a start, but let's be realistic here. There's no telling how many other people may have read that rumor on other boards, or e-mailed it to their friend. And let's not forget word-of-mouth.

JOE: I hate to agree with you, Grant, but you're right. There's no telling how many people have seen or heard that rumor.  
FADE OUT

SCENE TWO

(The scene shifts to THE JASMINE GARDEN. Nick and Remy are at one of the tables.)

NICK: I really feel for Joe. I know what it's like to be (hesitates)suspected of wrongdoing. The kicker is, he's in all this trouble because he covered for Toni and Josie back in 1997.

REMY: When they used unorthodox methods to prove that Chip Rayburn was the real rapist.

NICK: And if that dirt-bag hadn't come back to Bay  
City, the cover-up would never have been exposed.

REMY: Let's not call it a cover-up. My Dad withheld non-essential information, that's all.

NICK: Look, whatever we call it, I still say he did the right thing. If he had reported Toni and Josie's actions, Rayburn  
would have gone free... and who knows how many more women he would have raped?

(Camera focus shifts to door; Tito walks in and approaches table.)

TITO: Hey, Remy.

REMY: Get lost.

TITO: Aw, come on, Sis, I just want to talk.

NICK: Where do you come off calling her "Sis"?

TITO: It's simple, actually. Joe is my biological father, right?

REMY: Well, yes.

TITO: And he is married to your biological mother.

REMY: Your point being?

TITO: Our biological parents are married to each other, right?

NICK: You sure like that word "biological", don't you?

TITO: Face it, Remy, whether you like it or not, their being married makes us family.

REMY: Not even close. I almost missed out on finding _my_ family because of you.

TITO: The ironic thing is that if I'd known back then that Joe is my father, I wouldn't have had to pretend to be Paulina's son. If I had just known...

REMY: What difference would it have made?

TITO: You know how Joe feels about family. Maybe, if we'd both known the truth...(sighs)  
FADE OUT

SCENE THREE

(The scene shifts to the Commissioner's office.  
Joe and Josie are still inside with the Commish. Grant is no longer there.)

JOE: (to Walters) There's one thing I don't understand.

WALTERS: What?

JOE: When I handed in my resignation, you said that I was never in any danger of losing my shield.

WALTERS: That's right; you weren't.

JOE: But if you didn't get any of Josie's (looks at her, lowers his eyebrows) _messages_

WALTERS: I had told the IA officers to clear you.Look, Joe, I never _did_ think that your actions back in 1997 were wrong.

JOSIE: But the hearing

WALTERS: That was Grant's idea. I had to pretend to go along with it, so he wouldn't get suspicious.

JOE: You mean you're not on Grant's side?

WALTERS: No. Actually, I've been investigating Grant Harrison.

JOE: And all this time, I thought

JOSIE: Everybody at the 2-3 thought

WALTERS:(twisted smile) That I was a jerk?

JOE: That's one way of putting it. But why didn't you tell us what you were really doing?

WALTERS: I had to be sure I could trust you, and now I know beyond a doubt that you _are_ trustworthy,  
because you were ready to give up your shield, rather than let it be saved by questionable means.

JOSIE: So my actions actually helped to prove that Joe is trustworthy?

JOE: (sternly) Nothing can change the fact that your actions were wrong, Josie, very wrong, and you and I are going to have a serious talk in my office.

JOSIE: (low voice) Yes, sir.  
FADE OUT  


SCENE FOUR

(The scene shifts to the squad room at the 2-3 about twenty minutes later.Toni and Adams are standing together, talking.)

TONI: You up for a game of pinball when our shifts end?

ADAMS: I don't know. Maybe.

(Joe and Josie walk in. Joe looks grim; Josie looks worried.)

JOE: Everybody, listen up!

ADAMS: Hey! You're wearing your shield again.

JOE: That's right. I'm back. (Officers start cheering.) Now, Josie and I have a few things to discuss in my office, don't we, Josie?

JOSIE: (meekly) Yes, sir.

(Joe and Josie go into his office.)

ADAMS: (low voice, to Toni) What's up with Josie?

TONI: I have no idea.

(Brief dissolve, and then we see Joe and Josie inside his office, with the door locked and the blinds closed.)

JOSIE: Look, Joe, I know that what I did was wrong.

JOE: Did you, for even one minute, think it was right?

JOSIE: Deep down, no, sir.

JOE: Then why did you do it, Josie?

JOSIE: Like I said in the Commissioner's office, I was trying to keep you from losing your shield.

JOE: So when I told you why I resigned, why didn't you come clean right away?

JOSIE: I don't know. Maybe I was afraid... or maybe I was ashamed. I mean, you're always  
saying that I'm your best cop, and I turn around and commit blackmail.

JOE: So what made you finally tell the truth?

JOSIE: I suspended Edith because she slapped a perp. And then it hit me, what a  
hypocrite I was. I mean, who was I to suspend anybody?

JOE: You were a police captain disciplining an officer for acting improperly.

JOSIE: I never should have been the captain of this precinct.

JOE: Well, I thought you were the right one for the job. I never thought you were  
the one who was blackmailing the Commish.

JOSIE: Because I know how it feels to be blackmailed.

JOE: That's one reason. So why did you do it to someone else?

JOSIE: I thought it would be worth it if it kept you from losing your shield.

JOE: Would it have been? Would you really have been happy, knowing that the only reason I  
still had my shield was because _you_ did something unethical?

JOSIE: No, sir. I guess I wasn't thinking straight. (hesitates)Do you have to go to Internal Affairs with this?

JOE: No, I'll leave that up to the Commish. And since he's letting me handle  
your punishment, I don't think we have to worry about that.

JOSIE: That's a relief. I just wish Grant didn't know what I did.

JOE: Me, too, especially since what you did was a crime. You know that, don't you, Josie?

JOSIE: (looking at the floor) Yes, sir.

JOE: And to make matters worse, you, an officer of the law, committed that crime  
right here in the police station.

JOSIE: I'm sorry, Joe, and I'm ready to accept any punishment you decide to give me.

JOE: You understand that I can't let you off with just a slap on the wrist, don't you?

JOSIE: I know. So what are you going to do?

JOE: First of all, you can't use the recreational computer any more.

JOSIE: I sort of expected that.

JOE: That's the easy part of your punishment. Now, this is the hard part. I am temporarily demoting you to Cadet.  
FADE OUT

SCENE FIVE  
(The scene shifts to THE JASMINE GARDEN. Nick and Remy are eating spareribs. Tito is no longer there.)  
REMY: You know, I got the feeling that Tito is really sorry about everything he did. Deep down, I think he really wants Dad to

NICK: Love him?

REMY: (Nods her head.)Exactly.

NICK: You may be right. (Thoughtfully) You know, now that I think of it, it has to be rough for Tito.

REMY: What?

NICK: Having Joe for a father, but not having him for a Dad.  
FADE OUT

  
SCENE SIX: CLOSING SCENE  
(The scene shifts to Joe's office at the 2-3. Joe and Josie still are inside.)

JOSIE: You're not serious, are you? You're really demoting me to Cadet?

JOE: You said you'd accept any punishment I decided to give you.

JOSIE: I know, but isn't that sort of a disgrace?

JOE: (a bit sternly) Well, weren't your actions disgraceful?

JOSIE: (humbly) Yes, sir.

JOE: (reassuringly) Look, it's not as bad as it sounds. You won't have to go back to the Academy.

JOSIE: Then what will I have to do?

JOE: Well, besides keeping your promise to find every place that rumor is posted, and retract it, with an apology,  
you will study the training manual all over again, and I will test you on each chapter. I will also give you some special assignments.

JOSIE: Yes, sir.

JOE: Your first assignment is to look up the laws on e-mail threats and blackmail, and write a five-hundred word essay on the subject.

JOSIE: Yes, sir. How soon do you want it?

JOE: In a week.(Puts both hands on Josie's shoulders and looks into her eyes.) You know I'm doing this for your own good, don't you?

JOSIE: I know. (Raises her eyes to Joe's face.) I once promised you that I would never betray my shield again, but I didn't keep my  
promise. (voice breaks) But this time, if I get my shield back, I

JOE: No, Josie, not _if_ you get your shield back. _When_ you get your shield back, I expect you to be a better cop than ever.  
FREEZE FRAME


	36. Episode 36

This episode begins shortly after the previous episode ended.

SCENE ONE

(The scene is the squad room of the 2-3. The door to Joe's office opens. Joe and Josie come out.)

JOE: Everybody, listen up. Josie has something to tell you.

JOSIE: (takes deep breath) Yes. I have to tell you why Joe resigned from the force. It was because he found out about something _I_ did.... something unethical... something I'm ashamed of.

HISPANIC MALE OFFICER: But, Joe, if Josie did something unethical, why did you quit? Why didn't you just fire her?

JOE: For one thing, Manuel, I didn't know she was the one.

ADAMS: But what did she do, exactly?

JOSIE: I'm going to tell you, but it's not going to be easy.

JOE: (quietly, to Josie) It's all right. Everyone here loves you.

JOSIE: (to Joe) That's what makes it so hard.

ADAMS: Josie, what did you do to make Joe quit the force?

JOSIE: I sent threatening e-mails to the Commish.

TONI: You _what_?

JOSIE: I threatened to start an online rumor about him if he didn't drop the charges against Joe.

ADAMS: But he still didn't drop the charges.

JOSIE: And I had to testify against Joe. And that made me so angry, I....

TONI: (puts her hands on her hips) Don't tell us you actually posted a rumor?

JOSIE: I did. God help me, I did. One little rumor on one message board... and now it seems to be all over the Internet.  
FADE OUT

SCENE TWO

(The scene shifts to the corridor of BAY CITY HIGH. Peggy Walters is looking at a bulletin board. Another girl approaches.)

GIRL: Hey, Peggy, I didn't know you flunked a class, too.

PEGGY: I didn't flunk. I'm taking a couple of the elective courses they're offering this summer.

GIRL: So tell me, is that online rumor about your father true?

PEGGY: What are you talking about, Mayda?

MAYDA: Is your mother going to divorce him?

PEGGY: Why would she divorce him? They're perfectly happy.

MAYDA: Then why has he been visiting, quote, places of questionable repute, unquote?

PEGGY: Where did you hear that?

MAYDA: Oh, come on. Everyone knows about that online rumor.

PEGGY: Well, I don't. Our monitor died weeks ago, and my parents still haven't gotten around to replacing it.

MAYDA: Then you're the only one who doesn't know what's going on with your own father.  
FADE OUT

SCENE THREE  


(The scene shifts to the squad room of the 2-3.)  
JOSIE: And that's when I knew I had to come clean.

MANUEL: About time.

ADAMS: You mean to tell us you let Joe resign, when all the time you were the one...

FEMALE OFFICER: And he was so sure you couldn't have done such a thing, he named you as our new captain.

TONI: I don't blame you

JOHNSON: How can you not blame her?

TONI: Let me finish. I don't blame you for threatening Walters. Any one of us might have done the same thing.

I blame you for letting Joe quit the force.

ADAMS: That's right, Josie. If saving Joe's career was so important to you, why didn't you come clean as soon as he told you why he was quitting?

TONI: I guess when push came to shove, saving your own career mattered more.

JOSIE: Toni, how can you say that? You, of all people?

TONI: How can I say that? Remember when I was in Florida, and I knew there was corruption in my precinct? I looked the other way,

because Chip Rayburn threatened to ruin Joe's career if I didn't. I was ready to sacrifice my own career, and my reputation.

ADAMS: Toni's right, Josie. But _you_ not only let Joe resign, you let everyone in Bay City,except us and his family, wonder

if he really _was_ corrupt.

JOHNSON: When it came down to it, you didn't really care about Joe's career or his reputation. All you cared about was covering your own ass.

TONI: You knew that Joe wasn't involved in anything underhanded, but you let people like Grant trash his reputation,

when all you had to do was speak up and tell the truth.

JOHNSON: And I'll bet Joe let you off real easy.

JOE: Not this time, I didn't.

JOHNSON: She's still here, isn't she?

(Others nod and murmur in agreement.)

JOE: All right, that's enough. She doesn't need this from you guys.

JOSIE: No. They're right, Joe. You should have fired me!

(Josie covers her face with her hands and cries.)

JOE: I don't believe this! Now, I want to know, are you guys really glad to have me back?

ADAMS: You shouldn't even have to ask, sir.

JOE: Well, you can thank Josie for that.

JOHNSON: But it was Josie's fault that you resigned in the first place.

JOE: But I'm back because she came forward and told the truth, and she is being punished very severely for her actions.

ADAMS: How?

JOE: As much as I hated to do it, I've demoted her way down.

MANUEL: How far down are we talking about?

JOE: For awhile, Josie's rank will be that of Cadet.

(Shocked reactions from everyone.)

TONI: You really came down on her.

JOE: Yes, I did. And by the way, telling you what she did was Josie's idea, not mine.

FADE OUT

SCENE FOUR

One hour later

(The scene shifts to the living room of the Walters home. Peggy is lying on the sofa, crying. Marge 

HOWARD: What's wrong?

PEGGY: (sniffling) There's a rumor about you on the Internet... it's on at least nine message boards.

HOWARD: (sighs) Your Mother and I never wanted you to find out about that rumor.

PEGGY: You should have told me. Instead, I had to find out about it in school.

MARGE: She's right. We should have known someone would say something.

HOWARD: Honey, you now it's a lie, don't you?

PEGGY: Of course I know. I just don't like the idea of anyone spreading rumors like that about you.

(Quick dissolve, and then we see the exterior of the Walters house. Joe and Josie are coming up the walk.)

JOSIE: Look, Joe, I appreciate your coming with me, but you really didn't have to.

JOE: Yes, I did.

JOSIE: I still think I should do this on my own.

JOE: No, Josie. You will not be doing _anything_ on your own for the time being.

JOSIE: So I can't even try to make things right on my own?

JOE: I don't want you doing anything without running it by me first. Can you live with that for now?

JOSIE: Yes, sir.

(They reach the house. Josie rings bell. After a few seconds, Howard Walters

opens the door. Marge and Peggy are standing behind him. Howard ushers Joe and Josie inside.)

JOE: I hope we're not intruding.

HOWARD: No, not at all. Joe, Josie, you know my wife, Marge, and this is our daughter, Peggy.

JOE: Josie has something she'd like to say to the three of you.

PEGGY: (suspiciously) It was you, wasn't it? You're Firefly789, aren't you?

JOSIE: (looks at floor) Yes.

PEGGY: (through her teeth)You bitch!

MARGE: Peggy! Since when do  
you use that language?

JOSIE: No, I don't blame her. I came here to apologize, and I want you to know that I've been going to the message boards 

and retracting the rumor.

PEGGY: You mean the lie.

JOSIE: Look, I don't know if this makes any difference to you, but I'm being punished for what I did. Tell them, Joe.

JOE: I've demoted Josie to Cadet for the time being.

HOWARD: (surprised) She's going back to the Academy?

JOE: No, I'm not taking it that far. Essentially, she's on desk duty, but instead of typing

reports, she'll be studying the Manual all over again. I'm also giving her some extra things to work on.

JOSIE: Almost like homework.

JOE: No, more like punishment assignments.

MARGE: Was coming here to apologize part of her punishment?

JOE: No, it wasn't. Josie felt that she owed it to you.  
FADE OUT

SCENE FIVE  
(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are at their favorite table, waiting to be served.)

CECILE: You look, shall we say, disgruntled?

GRANT: Make that disgusted.I was finally rid of that arrogant Captain Joseph Carlino. I finally had people wondering if

he'd had them fooled all these years.

CECILE: Because he resigned without an explanation?

GRANT: Exactly. And then that little chit, Josie Sinclair

CECILE: That little _what_?

GRANT: "Chit. (Pronouncing each letter separately and distinctly)" C, H, I, T.

CECILE: All right, I get it. But exactly what happened?

GRANT: To make a long story short, Joe resigned because one of his officers, he didn't know which one, did something unethical. 

But today, Detective Sinclair confessed that _she_ was the culprit.

CECILE: Does this have anything to do with that rumor about Commissioner Walters?

GRANT: Yes, it does. Josie was the one who started that rumor and she also tried to blackmail Walters. (Musingly) It's funny. 

I was once involved with Josie's mother. If we had gotten married, Josie would have been my stepdaughter.

CECILE: I don't think she would have called you "Dad" or "Papa". So, I suppose Joe fired Josie?

GRANT: No, he didn't fire her. I was there when she confessed, and he did say that he would discipline her.

However, at the time he was holding her and stroking her hair, as if (breaks off)

CECILE: As if what?

GRANT: It just came to me that I can turn this to my advantage, or, at least, to Joe Carlino's _dis_ advantage.

FADE OUT

SCENE SIX:  
(The scene shifts to show a split screen, about three hours later. On the left, we see Josie and Gary in bed, on the right, 

Joe and Paulina in _their_ bed. Both couples are talking, but we can't hear what they are saying. Dissolve to show only Joe and Paulina.)

JOE: I'm sorry I can't go to Rachel's opening tomorrow, but I think I should stick around the 2-3.

PAULINA: I'm just glad you've got your job back. I still can't believe that you quit because Josie, of all people, was corrupt.

JOE: Not corrupt, Blue Eyes. Misguided.

PAULINA: How can you say she was misguided when you've always given the officers under you the best possible guidance?

(Dissolve to Josie and Gary)

GARY: Joe really came down on you today.

JOSIE: I deserved it. I should have known that his integrity meant more to him than his shield.

(Dissolve to Joe and Paulina)

JOE: Do you think I was too hard on Josie?

PAULINA: If anything, you were too easy on her. By all rights, you should have fired her.

JOE: You sound like you mean it.

PAULINA: Well, I do. Your career was almost ruined because of what Josie did.

JOE: Well, she was upset because she had to testify against me at the hearing, and that clouded her judgment for awhile.

PAULINA: But she's thinking clearly now?

JOE: I think she is. She hasn't said one word of complaint about her punishment, and it's the worst one I've ever given any of my officers.

(Dissolve to Josie and Gary.)

JOSIE: Boy, am I tired.

GARY: Well, no wonder. You've had a very long, hard day.

(Dissolve to Joe and Paulina.)

JOE: I am absolutely wiped out.

PAULINA: I'm not surprised, after the long day you've had.  
FADE OUT

SCENE SEVEN: CLOSING SCENE  
The next morning.

(The scene shifts to the living room the Cory-Hutchins mansion

CARL: I must say, you are one of the last people I expected to hear from, considering our past. (Pause)

No, she still hasn't forgiven me. (Pause) Oh, she is civil, but a man wants more than mere civility from his wife.

(pause) Yes, the opening is tonight. (pause) What sort of a suggestion? (pause) No, I'd rather not go along with that. 

(Pause) Do you really think that the end would justify the means in this case? (Pause)Very well. We'll try your plan.

FREEZE FRAME  



	37. Episode 37

This episode begins on the morning the previous one ended; the first scene may well be taking place at the same time as Carl's telephone conversation!

SCENE ONE

(The scene is the squad room of the 2-3. Josie, in Cadet uniform, is at her desk, working on the computer. We see several boxes of doughnuts. Toni, Adams, Johnson, Manuel and several other officers are helping themselves. Josie looks up from her desk; her expression is that of a little girl denied a treat everyone else is enjoying. Joe comes out of his office, walks over to Josie.)

JOE: Did you find any more messages?

JOSIE: Yes, sir. I found seven, and three of them just said "Bay City", without naming any state. So now there may be some more reputations ruined, and I'm to blame.

JOE: Josie, you are only responsible for the message you sent. The ones who spread it and changed it are just as responsible for _their_ actions.

JOSIE: But I'm the one who started it.

JOE: And now you are doing everything you can to stop it.

JOSIE: Yes, sir. (Looks towards doughnuts, sighs.)

JOE: What's wrong, Josie? You can tell me.

JOSIE: It's nothing important. It's silly, actually.

JOE: You want a doughnut?

JOSIE: But I'm not really a cop right now, so I'm not entitled to one, right?

JOE: Josie, yesterday when I handed down your punishment, did you hear me say that you couldn't have any doughnuts?

JOSIE: Well, no.

JOE: Go on, take one.

JOSIE:(smiles gratefully)Yes, sir. (Josie gets up, walks over to doughnuts. A young, red-headed female officer, about a head taller than Josie, is reading something on one of the boxes. She deliberates briefly, and then takes a chocolate-covered doughnut. Josie selects a powdered doughnut.)

OFFICER: What's with the Cadet uniform, Josie?

JOSIE: You didn't hear, Naomi? I'm not a detective any more. I'm a Cadet. (Naomi looks surprised.) I'll fill you in later. Oh, I hope you don't mind my asking you this, but how come you were reading the box?

NAOMI: (smiling) I had to be sure the doughnuts were Kosher.

FADE OUT

SCENE TWO

(The scene shifts to the living room of the Cory-Hutchins mansion. Carl and Rachel are on the sofa.)

RACHEL: I don't believe you really are ill, Carl.

CARL: Then what _do_ you think?

RACHEL: I think you want to avoid coming to my opening tonight because of the problems we've had, problems, I might add, that were of your making.

CARL: I swear to you, Rachel, I really do not feel well enough to travel to Chicago.  
FADE OUT

SCENE THREE  
(The scene shifts to the office of Mayor Grant Harrison. Grant is typing something on his computer keyboard. He stops, reads what he has written, and smiles.)  
GRANT: (thinks) Yes, that should do nicely. Now we shall see what we shall see.  
FADE OUT

SCENE FOUR

(The scene shifts to the squad room of the 2-3. Josie and Naomi are finishing their doughnuts.)

JOSIE: And _that's_ why I've been demoted. I think it was Joe's way of firing me without really firing me. I mean, officially, I'm not a cop any more.

NAOMI: But didn't he say it was temporary?

JOSIE: Well, yes.

NAOMI: Then I think he's doing this to give you a chance to start over.

JOSIE: You know, you're probably right.

NAOMI: Well, my mother says everyone needs a chance to start over once in awhile.

JOSIE: Your mother's a teacher, isn't she?

NAOMI: She teaches second grade.

JOSIE: Wouldn't it be funny if Joe's son, Dante, wound up in her class this September?  
FADE OUT

SCENE FIVE  
(The scene shifts to the rectory of the Catholic Church, about an hour later. Joe is inside with Fr. Malone.)

FR. MALONE: So what's troubling you, Joe?

JOE: Well, Father, you know I quit the force.

FR. MALONE: Yes, but now you've got your job back.

JOE: That's just it.

FR. MALONE: Are you thinking that perhaps you shouldn't have taken it back?

JOE: No. I'm wondering if I wasn't wrong to resign in the first place. I mean, I had a precinct full of officers upset about the hearing, and then I just turned around and quit without telling any of them why.

FR. MALONE: But if you had told them why, they might have been looking at each other with suspicion.

JOE: It's not the fact that I didn't tell them why I was quitting that bothers me. It's the fact that I quit at all. Was I abandoning the officers under me at a time when they really needed me?

FR. MALONE: Would you listen to yourself now? They are not children, and you are not their father.  


JOE: Grant accused me of coddling Josie.

FR. MALONE: When was this?

JOE: Yesterday, after she owned up to what she did.

FR. MALONE: Was there any truth in what he said?

JOE: Josie was crying, and I was trying make her feel better. The strange thing is, part of me wanted to shake her. Of course, if I had, our esteemed  


mayor would probably have charged me with abusing my officers.  
FADE OUT

SCENE SIX

(The scene shifts to the Cory-Hutchins mansion, two hours later. Carl is on the phone.)

CARL: No, she didn't really believe me.(Pause) Perhaps you are right; her skepticism may very well be to my advantage in the long run. (Pause) And you will definitely handle this at just the right time? (Pause) If your plan works, I will consider our past to be nonexistent.  
FADE OUT

SCENE SEVEN

(The scene shifts to Carlino's. Joe and Josie are seated at a table with soup plates in front of them.  
JOE: You got a lot done this morning.

JOSIE: You really think so?

JOE: You managed to collect quite a few of those feathers.

JOSIE: (puzzled) What feathers?

JOE: You mean you never heard any versions of the story?

JOSIE: I have no idea what story you're talking about.

JOE: Well, eat your soup, and I'll tell you. (Josie picks up her spoon and starts to eat.)  


_Many years ago, there was a woman, a good woman, but she had one great fault. She was a terrible gossip. Whatever she heard, she told, and, like most gossips, she usually added her own touches to the story. After some time, she found that nobody in her village would speak to her, because nobody trusted her. So she went to the priest and asked him what she should do. "Well," said the priest,  
_

_"this is a serious matter. I shall need twenty-four hours to arrive at an answer." Twenty-four hours later, the woman  
_

_went back to the priest. "Now can you help me, Father?" she asked. "Yes, I can." said the priest, handing her a carefully tied sack, "but we'll have to go out outside." They went out, and the priest said, "Now, you must open this sack, and shake it out into the wind." Now, the woman didn't see how that would help, but she did what the priest said. She shook out the sack, and at once hundreds of feathers flew up into the air. "Is that all, Father?" the  
woman asked. "Oh, no," said the priest. "That's only the first half." "But what is the second half?" asked the woman. "Ah," said the priest, "you come back at this time tomorrow, and I'll tell you." The next day, the woman went to see her priest again. The priest handed her the sack, and said, "Now, go and bring back all the feathers you tossed into the wind yesterday." The woman looked at him and said, "But, Father, how can I do that? You saw what happened when I shook out the sack. The feathers went every which way. Isn't there something else I can do?" "Indeed there is," said the priest, "But it won't be easy. Go to everyone you've ever gossiped or lied about, and tell them how sorry you are. And go to everyone you've ever lied to, and tell them the truth." "But, Father," said the woman, "I can't remember all the stories I've spread." "In that case," said the priest, "you must go to everyone in the village and say, "If I've ever told a lie to you or about you, I ask your forgiveness. And you must do a good deed for each person." And the woman went, and did as the priest told her, and to her surprise, before the week was out, quite a few of her former friends had forgiven her. Of course, it helped that the priest's sermon that Sunday was on forgiveness. And from then on, that woman never gossiped or lied about her neighbors again._

JOSIE: That's a good story. How come you didn't tell it to me yesterday, when you were handing down my punishment?

JOE: Because it wasn't the right time, Josie. A story is a story, and a scolding is a scolding.

JOSIE: I see what you mean. (Looks troubled)

JOE: What's wrong?

JOSIE: I just realized I may never be able to collect all the feathers I started flying."

JOE: Maybe not, but the important thing is that you are doing all you can to stop them from going any further. But, Josie, there's one more thing I want you to do, and it is something very important.

JOSIE: What's that?

JOE: I want you to forgive yourself.  
FADE OUT

SCENE EIGHT  
(The scene shifts to the Cory-Hutchins mansion. Carl is on the phone.  
CARL: (Pause) Now, you're sure she'll show up?(Pause)She never misses an art show? (pause) Strange, I don't remember her being such an art lover.(pause) Well, that's certainly true. People change.(pause) And you'll make sure she's within hearing distance before you say anything?  
FADE OUT

SCENE NINE: CLOSING SCENE  
(The scene shifts to the squad room of the 2-3. Josie is at her desk, working on the computer. Joe walks up to her.)

JOE: You're doing a good job of finding and retracting that rumor.

JOSIE: Well, I'm checking every board I can find, because there's no telling where a rumor will show up next.

JOE: (thoughtfully) So many people helped spread that rumor. I wonder how many will help spread the truth.

JOSIE: (types, points, clicks) Let's see if this board has any- (gasps) Oh, my God!

JOE: What is it?

JOSIE: Just read this.

JOE: (reads) "Hanky-panky in the police department? Police Captain Joseph Carlino, recently charged with corruption, has been seen fondling Detective Josie Sinclair. Are they, perhaps, closer than anyone, including their respective spouses, suspects?"  
FREEZE FRAME  



	38. Episode 38

**Notes for the Chapter:**

> The reporter in this episode is NOT Helen Barlowe Rochester

This episode takes place on the same day as the previous one.

SCENE ONE

(The scene is the exterior of The Tripodi Gallery. There are several banners with the words "RACHEL CORY, RENOWNED SCULPTOR: Old and New Works.

A limousine stops in front of the gallery; the driver gets out and opens the door; Rachel steps out and speaks to the driver.We do not hear what she is saying.

While Rachel is speaking, Paulina, Amanda and Matt emerge from the limo.)

AMANDA: It's a good thing those banners don't say "Sculptress."

MATT: If they did, Mom would probably pull them down herself.

PAULINA: I wouldn't be surprised.

RACHEL: Shall we go inside? I need to make sure everything is ready before the exhibit opens.  
FADE OUT

SCENE TWO

(The scene shifts to the duck pond at Foster Park. Dante and Bonnie (in her wheelchair) are tossing bread crumbs to the ducks. Remy is sitting on a bench, reading a book. Tito approaches.)  


TITO: Hi, Dante. (Dante doesn't answer.) Hello, Dante.

BONNIE: Why don't you answer him?

DANTE: Because I don't know him, and you know I'm not allowed to talk to strangers.

BONNIE: Neither am I.

TITO: (sounding hurt) Don't you remember me, Dante?

DANTE: No.

TITO: I'm Tito.

DANTE: I still don't know you.

TITO: You mean nobody told you? I'm your brother.  
FADE OUT

SCENE THREE

(The scene shifts to the Cory-Hutchins mansion. Carl is on the phone.)  


CARL: Yes, I'm ready to do my part in our, or rather, your, little scheme. (Pause) Of course I'll wait until the strategic moment.(pause) I'm leaving as soon as we hang up.  
FADE OUT

SCENE FOUR  
(The scene shifts to the office of SINCLAIR AND SINCLAIR, PRIVATE INVESTIGATORS. Gary and Cameron are talking.)

CAMERON: So Joe really came down on Josie?

GARY: Yep.

CAMERON: What did he do, exactly?

GARY: He demoted her to Cadet.

CAMERON: (whistling) You're kidding, right?

GARY: It's not as bad as it sounds.

CAMERON: Meaning it's only temporary?

GARY: You got it.  
FADE OUT

SCENE FIVE  
(The scene shifts to the duck pond at Foster Park)  


DANTE: What do you mean, you're my brother?

TITO: Well, you know how Remy is your sister because you have the same mother?

DANTE: Uh huh.

TITO: Well, I'm your brother because you and I have the same father.

DANTE: My Daddy is _your_ Daddy?

TITO: That's right.

DANTE: If my Daddy is your Daddy, too, how come you've never been to our house?

(Remy looks up from her book)  


REMY: Oh, my God! (Gets up, starts walking over to Dante, Bonnie, and Tito.)

TITO: Well, you see, Dante, I've never come to the house because Dad doesn't (sees Remy, breaks off.) Oh, hi, Remy.

REMY: Don't you "Hi, Remy" me. You leave Dante alone.

BONNIE: He says he's Dante's brother? Is he?

DANTE: I don't think so.

TITO: Listen to me, Dante. I really am your brother, just as much as Remy is your sister.

REMY: No, you're not, and you never will be.

TITO: There's a saying, Remy, "Denial ain't just a river in Egypt."

REMY: Meaning what?

TITO: Meaning Dante is just as much my flesh and blood as he is yours.

REMY: Even _if_ Dad is your father, Dante, I am still more his sister than you are his brother.

TITO: How do you figure that?

REMY: It's simple. I _love_ Dante.

TITO:  
And are you so sure I (breaks off)

REMY: (to Dante and Bonnie) We have to go now. (takes handles of Bonnie's wheelchair, pushes chair. Dante walks alongside the chair. Tito watches, and sighs. )

TITO: (to himself) Damn it! I blew it!  
FADE OUT

SCENE SIX  
(The scene shifts to an apartment somewhere in Bay City. There is a copy of Van Gogh's STARRY NIGHT on the wall. Edith is talking on the phone.)  
EDITH: Yes, I saw it. (pause) No, I have no idea who posted it, but if you ask me, it serves her right. I mean, she had the nerve to suspend _me_ after what _she_ did.  
FADE OUT

SCENE SEVEN: CLOSING SCENE

SEVERAL HOURS LATER

(The scene shifts to The Tripodi Gallery. Rachel is talking with a female reporter. Amanda, Paulina, and Matt are standing nearby.)  


REPORTER: I'm surprised that your husband isn't here.

RACHEL: He's feeling under the weather.

REPORTER: Oh? I heard some rumors that you were having problems.

RACHEL: Well, as a reporter, you should know that you can't believe everything you hear.

REPORTER: But where is the rest of your family?

RACHEL: They'll be here later.(Lydia approaches; Rachel is obviously annoyed.)What do you think you're doing here?

LYDIA: Why, Rachel (as she speaks, the camera angle widens, and we see Iris approaching.) I came to see your sculptures.

(Reporter listens intently)

RACHEL:  
I'd like you to leave.

LYDIA: Must you be so uncivil? After all, we do have a hus

(Iris, now directly behind them, coughs. Rachel and Lydia turn to face her.)

IRIS: Rachel, I need to talk to you.

RACHEL: Really? Do you think, after everything you did, that you could just come to my opening and talk to me, as though we were one big happy family?

LYDIA: Iris, what in the world

RACHEL: Don't tell me you two know each other. But then, why am I surprised?

AMANDA: (low voice, to Paulina and Matt) This is all Mom needs.

IRIS: Please, Rachel, there is something I need to tell you. It's about Carl.

LYDIA: What about Carl? Is he still trying to divorce

IRIS: No. Rachel, I went to your house today.

RACHEL: Why?

IRIS: I was hoping that we could put the past behind us, but, it's too late. At least, it's too late for Carl.

RACHEL: Of course it's too late, after what you did.

IRIS: No, Rachel, that's not what I mean. While I was there, Carl collapsed.

RACHEL: Is he... is he all right?

IRIS: No, he isn't. I'm sorry, Rachel, but Carl is dead.  
FREEZE FRAME


	39. Episode 39

This episode begins about fifteen minutes after the end of Episode 37.

SCENE ONE  
(The scene is the squad room of the 2-3. Joe and Josie are standing near the coffeepot, talking. Edith storms in and walks over to them.)

EDITH: Joe, I want you to lift my suspension right now.

JOE: Oh?

EDITH: Yes. She (pointing to Josie) had no business suspending me in the first place.

JOSIE: Look, Edith

EDITH: Don't talk to me, you hypocrite.

JOE: Listen, Edith, Josie and I have a crisis to deal with right now.

EDITH: You mean the rumor about the two of you?

JOSIE: How did you know about that rumor?

EDITH: If you mean, was I the one who posted it, the answer is no, and I resent your insinuating anything of the kind.

JOE: Nobody's insinuating anything. And as for your being reinstated, do you think you deserved to be suspended in the first place?

EDITH: Do you know _why_ I was suspended?

JOE: Yes, Edith. You were suspended for slapping a perp.

EDITH: Because she made a crack about you, which she probably wouldn't have made if you hadn't resigned.

JOSIE: And it was my fault that you resigned, Joe. You know that.

EDITH: So don't you think I should be reinstated?

JOE: Why don't we talk about this in my office?  
FADE OUT

SCENE TWO  
(The scene shifts to Grant's office at City Hall. Grant is inside with Chip Rayburn.)

GRANT: You are absolutely sure nobody saw you?

CHIP: I'm positive.

GRANT: Why did you request this meeting?

CHIP: We had a deal, remember?

GRANT: True, but, as you know, things didn't go according to plan.

CHIP: That wasn't my fault. I did everything you told me to.

GRANT: True, but we didn't achieve our goal. Joe Carlino is still the police captain.

CHIP: You're right, and he'd never

GRANT: (interrupting) Wait a minute. He may be the police captain, but _I_ am the mayor. I'm going to have a little talk with Captain Carlino.

CHIP: Do you plan to give him a direct order?

GRANT: Not exactly. I'm going to give him a choice.  
FADE OUT

SCENE THREE

(The scene shifts to CARLINO'S. Toni and Adams are at a table, eating linguini and talking.)

ADAMS: Josie was pretty shook up by that online rumor about her andJoe.

TONI: It wasn't exactly a rumor. It was a statement, followed by an innuendo.

ADAMS: I just wish we could do something about it.

TONI: Like what? Go to that message board and challenge the scumbag who posted that garbage to identify himself... or herself?

ADAMS: As if he, or she, would ever come forward.

TONI: Then we'll just have to do something else.

ADAMS: Like what? Go to the message board and vehemently deny the rumor?

TONI: No, just the opposite. What I plan to do is go to that board and tell them that the rumor about Joe fondling Josie is true.  
FADE OUT  


SCENE FOUR  
(The scene shifts to Joe's office at the 2-3. Joe, Josie, and Edith are inside.)

JOE: So, Edith, you feel that you should be reinstated because Josie is the one who handed down the punishment?

EDITH: Like I said, she had no business punishing me because she had no right to accept the captaincy in the first place.

JOSIE: She's right, Joe. And if it weren't for Edith, I might not have owned up.

EDITH: What do you mean, if it weren't for me, you might not have owned up?

JOSIE: You came to me right after you slapped that perp. You didn't try to hide what you had done.

EDITH: Well, if my coming to you was such a shining example, why did you suspend me?

JOE:(sternly) She suspended you because slapping that perp was wrong, and you're just lucky you weren't charged with brutality.

JOSIE: After I suspended you, I felt like such a hypocrite, I couldn't stand it any more. I knew, then, that I had to come clean, no matter what the consequences were.

JOE: And you've got to admit, the consequences were pretty severe.

JOSIE: But you know, I don't feel as bad about being a Cadet as I did about (hesitates)

JOE: It was worse for you when you were the captain, right Josie? (Josie nods her head) And I'll bet you'd like forget all about your captaincy, right?

JOSIE: I wish I could.

JOE: Tell you what, Josie. Why don't I expunge it from the record?

JOSIE: You mean?

JOE: Your captaincy never officially happened. And that means that any decisions you made during your now _non-existent_ captaincy are null and void.

EDITH: So I'm not suspended any more?

JOE: No, but I want you to write me a report on the proper procedure for making an arrest.

EDITH: Yes, sir.  
FADE OUT

SCENE FIVE: CLOSING SCENE

(The scene shifts to the living room of the Carlino home, about an hour later. Sofia and Dante are on the sofa. Ryan Gabriel is on the floor, looking at a picture book. Angela Rose is in her playpen.)  
DANTE: Aunt Sofia, do you know someone named Tito?

SOFIA: (cautiously) Why do you ask?

DANTE: Because when me and Remy and Bonnie were over by the duck pond, this guy named Tito came over and said he was my brother. So I asked him how come he never comes here.

SOFIA: And what did he say?

DANTE: He started to tell me, but then Remy walked up to us, and she was real mad at him. And then all of a sudden she was in a hurry to get us out of the park. Aunt Sofia, if that guy really is my brother, how come nobody ever told me about him?  
(Door opens.)  
That must be Daddy now. I'll ask him about Tito.

(Joe walks into the living room. Dante and Ryan Gabriel run to him. The three of them sit on the floor by Angela Rose's playpen; Angela Rose babbles happily.)

SOFIA: Joey, I have to tell you something.

JOE: Sure, Sof, but first how about if I just enjoy this moment with my kids?

SOFIA: This is really important.

JOE: (Gets up) All right, let's go into the kitchen. Daddy will be right back.

(Joe and Sofia go into the kitchen.)

SOFIA: We have a problem.

JOE: What's wrong, Bambina?

SOFIA: There's no easy way to tell you this. Dante saw Tito at the park today.

JOE: And?

SOFIA: Tito told him.

JOE: Wasn't Remy watching? How could she let Tito anywhere near (Doorbell rings.)  
I'd better get that.

(Scene dissolves to exterior of house. Grant is standing outside. Joe opens door, frowns at his "visitor".)

GRANT: I went down to the station house, but I was told that you had already left.

JOE: Rachel's opening is today, remember? I promised to get over there as early as I could. Now, what do you want? I take it this isn't a social call, since you and I don't exactly socialize.

GRANT: I am here, _Captain_ Carlino, as your mayor and your boss.

JOE: (thinking) Like I don't have enough to deal with right now.

GRANT: I want to talk to you about Chip Rayburn.

JOE: That rapist creep? I want nothing to do with him.

GRANT: Well, that's just too bad. He's done his time, remember?

JOE: Yeah, somehow he managed to get early parole.

GRANT: I'll get right to the point. I want you to reinstate him at the 2-3.

JOE: You've got to be kidding me!

GRANT: I assure you, I am not. Let me point out that the evidence against him was obtained _illegally_ by Officers Burrell and Sinclair. Therefore, I am giving you a choice.

JOE: (warily) What kind of a choice?

GRANT: You will either re-hire Rayburn within seven days, or you will fire Burrell and Sinclair.  
FREEZE FRAME


	40. Episode 40

This episode begins where Episode 38 ended.

SCENE ONE  
(The scene is The Tripodi Gallery. Rachel is talking with a female reporter. Amanda, Paulina, and Matt are standing nearby.)

REPORTER: I'm surprised that your husband isn't here.

RACHEL: He's feeling under the weather.

REPORTER: Oh? I heard some rumors that you were having problems.

RACHEL: Well, as a reporter, you should know that you can't believe everything you hear.

REPORTER: But where is the rest of your family?

RACHEL: They'll be here later.(Lydia approaches; Rachel is obviously annoyed.)What do you think you're doing here?

LYDIA: Why, Rachel (as she speaks, the camera angle widens, and we see Iris approaching.)I came to see your sculptures.

(Reporter listens intently)

RACHEL: I'd like you to leave.

LYDIA: Must you be so uncivil? After all, we do have a hus

(Iris, now directly behind them, coughs. Rachel and Lydia turn to face her.)

IRIS: Rachel, I need to talk to you.

RACHEL: Really? Do you think, after everything you did, that you could just come to my opening and talk to me, as though we were one big happy family?

LYDIA: Iris, what in the world

RACHEL: Don't tell me you two know each other. But then, why am I surprised?

AMANDA: (low voice, to Paulina and Matt) This is all Mom needs.

IRIS: Please, Rachel, there is something I need to tell you. It's about Carl.

LYDIA: What about Carl? Is he still trying to divorce

IRIS: No. Rachel, I went to your house today.

RACHEL: Why?  
IRIS: I was hoping that we could put the past behind us, but, it's too late. At least, it's too late for Carl.

RACHEL: Of course it's too late, after what you did.

IRIS: No, Rachel, that's not what I mean. While I was there, Carl collapsed.

RACHEL: Is he all right?

IRIS: No, he isn't. I'm sorry, Rachel, but Carl is dead.

(Paulina, Amanda and Matt gasp.)

RACHEL: No!  
No! It can't be! I wasn't with Mac when _he_ died, and now... oh, God, why didn't I believe Carl when he told me he felt sick? (Turns on Lydia) Why didn't I see to it that Carl divorced you? Why didn't I fight harder to save my marriage?

AMANDA: But you weren't legally married.

PAULINA: (fiercely) Shut up, Amanda. (Walks over to Rachel, puts arms around her.) Mom, if there's anything I can do, just name it.

(Camera angle widens, and we see Carl approaching, unnoticed by everyone except Iris, who gives a barely perceptible nod.)  
FADE OUT

SCENE TWO

(The scene shifts to the exterior of the Carlino home. Joe is having an intense discussion with Grant

JOE: So I either re-hire that rapist creep, or fire two of my best cops?

GRANT: Well, technically, Josie Sinclair isn't really a cop.

JOE: For now.

GRANT: Well, unless you re-hire Chip Rayburn, Josie Sinclair's career will be over for good.

JOE: What if I refuse?

GRANT: Refuse to re-hire Rayburn, or refuse to fire Burrell and Sinclair?

JOE: Both.

GRANT: Then I'll fire you.

JOE: What the Hell for?

GRANT: Insubordination. You have forty-eight hours to decide what you are going to do, _Captain_ Carlino. (Grant turns and walks away)

JOE: Damn it!

(Door opens, and Sofia comes out)

SOFIA: Joe, Paulina is on the phone, and she says she has some really bad news.

JOE: (Looks up, thinks) God, give me strength.  
FADE OUT

SCENE THREE

(The scene shifts to Josie and Gary's living room. Josie and Gary are talking.)

JOSIE: Gary, there's something I have to tell you, and it's not good.

GARY: Don't tell me Joe decided to fire you after all.

JOSIE: No, you know he wouldn't do that. But it does involve Joe. and me.

GARY: Well, what is it?

JOSIE: I was looking at message boards where I thought somebody else may have posted that rumor I started, and I found one about me and Joe.

GARY: What in the world could anyone have to say about you and Joe?

JOSIE: I printed it out. (reaches into her pocket, hands paper to Gary.)

GARY: What did Joe say about it?

JOSIE: He said that the people who really know us will never believe it.

GARY: He's right.  
FADE OUT

SCENE FOUR: CLOSING SCENE  
(The scene shifts to THE TRIPODI GALLERY. Paulina is standing to the side, talking softly into a cell phone; we do not hear what she is saying. The reporter turns to Amanda.) 

REPORTER: What do you mean, your mother and Carl were not married? Are you saying that they were, to use an old-fashioned expression, living in sin?

AMANDA: No. It's complicated. You see, Carl was previously married to this (twists her mouth as she indicates Lydia) woman, and he thought they had been legally divorced.

REPORTER: And they weren't?

LYDIA: No, we weren't.

IRIS: Oh, give it up already!

(Paulina puts her cell phone in her purse and moves closer.)  
LYDIA: What do you mean?

PAULINA: What's going on here?

IRIS: You tell her, or I will.

LYDIA: Very well. After all, I have nothing to lose now that Carl is dead.

RACHEL: And what did you have to gain while he was alive? He would never have gone back to you.

LYDIA: (mockingly) Really? Do you honestly believe that that time you caught us at the Rosenthal Hotel was the last_time your husband and I were together?

RACHEL: My husband?

LYDIA: Yes. Carl and I _were_ legally divorced the whole time. I was fighting to get him back.

RACHEL: If I had the chance to do it all over again, I would fight tooth and nail to keep you away from him.

(Carl walks up.)

CARL: Do you really mean that, my love?

(Everyone except Iris looks stunned.)

RACHEL: Carl? Is it really you? Are you really here, alive?

CARL: Yes, I'm really here, and really alive.

PAULINA: But why... but what was this all about?

IRIS: It was all a ruse, to get Rachel to realize that she still loves Carl, and to get Lydia to admit that she'd been lying about their divorce not being legal.

(Reporter writes furiously.)

LYDIA: You traitor!

RACHEL: Do you mean to tell me this was a set-up? Do you have _any_ idea what you've put me through? (Slaps Carl's face) You bastard!  
FREEZE FRAME


	41. Episode 41

Episode 41

SCENE ONE  
(The scene is the entrance to The Tripodi Gallery. Felicia, Sergei, and Derek walk inside.)  
DEREK: I'm surprised Gary didn't come with us.

FELICIA: He's coming later, with Josie and Cameron and Alli.

SERGEI: What about Joe? After all, Rachel is his in-law mother.

FELICIA: Mother-in-law. Joe will get here as soon as he can.

DEREK: I was at Joe and Paulina's house one day last week, and Bonnie was there. She and Dante were making things out of modeling clay. From what I understand, she was always good at that.

FELICIA: Yes, but I think it's become more important to her now.

DEREK: Because it was something her accident couldn't take away from her?

FELICIA: Exactly.

SERGEI: I think I see Rachel... and Carl.

DEREK: Carl's here? But Paulina told me he was feeling under the weather and couldn't come.

(Camera angle widens, and we now see Rachel, Carl, Paulina, Amanda, Matt, and the reporter, who is taking notes. We also see a TV news crew approaching from the left as Felicia, Sergei, and Derek approach from the right.)  
FADE OUT

SCENE TWO

(The scene shifts to the kitchen of the Carlino home. Joe and Sofia are talking.)

SOFIA: So first Paulina calls and tells you that Carl is dead, and then a few minutes later she calls again and says he's at the gallery?

JOE: Yeah. It seems Carl and Iris cooked this up together.

SOFIA: Iris? But why would she want to help Carl and Rachel? From what I understand, she hates them both.

JOE: Exactly. Something definitely doesn't fit here.

SOFIA: Changing the subject, what are you going to tell Dante about Tito?

JOE: I know _what_ I have to tell him. The question is, _how_? (Door is heard opening.)Remy, is that you?

REMY: (offscreen) Yes, Dad.

JOE: Will you come into the kitchen? We need to talk.

SOFIA: I'll go read Dante and Ryan Gabriel a story.

JOE: Thanks, Sof.

SOFIA: I figure you want to talk to Remy alone.(Sofia walks out of kitchen as Remy walks in.)

REMY: (a bit nervous) You wanted to see me, Dad?

JOE: Yes, Remy. There is something you and I need to discuss.

REMY: Is it about Dante?

JOE: I want you to tell me how he found out about Tito.

REMY: It was my fault. I wasn't watching closely enough, and I didn't notice Tito talking to Dante until it was too late.

JOE: What were you doing?

REMY: I was reading. I'm sorry, Dad. I didn't mean for Dante to find out like this.

JOE: No, neither did I. Look, I know you'll be more careful after this, right, Remy?

REMY: You mean you're not going to lecture me and tell me how badly I messed up?

JOE: Like I said, I know you'll be more careful after this. Besides, there was no way we could have kept this from Dante forever. Too many people already know. So if it's anyone's fault he found out this way, it's mine.

REMY: (surprised) Yours ?

JOE: I should have told him myself. Now, I want you to promise me something.

REMY: Sure, Dad, anything.

JOE: Don't tell your mother that Dante knows. Let me handle that.  
FADE OUT

SCENE THREE  
(The scene shifts to the interior of a station wagon. Cameron is driving. Josie, Gary, and Alli are sitting in the back. Car is moving.)

  
ALLI: to Josie) What was that garbage about you and Joe on that message board?

JOSIE: You saw it?

CAMERON: What message board?

ALLI: One of those boards where people post anything and everything.

GARY: Including rumors... and lies.

JOSIE: Someone went to one of these boards and made up an ugly rumor about me and Joe.

ALLI: Do they have any idea who did it?

JOSIE: I don't want to make any accusations, but, yes, I think I know who might have done it.

GARY: Who?

JOSIE: Revenge is a strong motive... a very strong motive.

GARY: So you think it was...

JOSIE: (nods her head) Peggy Walters.  
FADE OUT

SCENE FOUR  
(The scene shifts to the living room of the Carlino home. Joe and Dante are sitting on the couch. Dante looks up at Joe.)

DANTE: Daddy, there's something I want to ask you.

JOE: I think I know what it is. A big guy came over to you today while you and Bonnie were feeding the ducks, right?

DANTE: Uh huh. He told me his name was Tito, and he said he's my brother because you are his daddy. Is that true?

JOE: Yes, Dante. It's true.

DANTE: How come you never told me?

JOE: You're right. Your Mom and I _should_ have been the ones to tell you.

DANTE: Well, now that I know Tito is my brother, is he going to come to the house?  
FADE OUT

SCENE FIVE: CLOSING SCENE  
(The scene shifts to The Tripodi Gallery. Cameras show entire gallery; we see that Sergei, Felicia and Derek have now joined Carl, Rachel, Paulina, Amanda, and Matt. Iris and Lydia are walking towards the exit, arguing. We cannot hear what they are saying, and, judging from their expressions and the way they are gesticulating, it is probably a good thing we can't! Rachel is facing Carl, and she is furious.  
Camera zooms in, and now we can hear the dialogue.)  
CARL: But, Rachel, love, the last time I returned to you from the dead

RACHEL: Are you going to say that I welcomed you with open arms? That was a completely different situation. You had amnesia. What you did tonight was cruel!

CARL: And the way you've treated me all these months was kind? Living in the< same house, yet sleeping in separate rooms?

RACHEL: Because we were not legally married, or so we thought until tonight.

CARL: No, Rachel, not because of that. Because you were too stubborn to allow me your bed, and yet you were also too stubborn let me go.

RACHEL: Don't you dare make this my fault!

MALE TV REPORTER: (recognizing Felicia) Aren't you Felicia Gallant, the novelist?

FELICIA: (thinking) Maybe I can take some of the heat off of Rachel. Yes, I am.

REPORTER: Your novels are published by Cory-Hutchins, right?

FELICIA: Yes.

MALE TV REPORTER: And you are also good friends with Mr. and Mrs. Hutchins?

FELICIA: Yes.

REPORTER: So I assume you were aware of the situation between them. Would you care to comment?

FELICIA: Absolutely not.

AMANDA: I have a comment. Tonight is about my mother's sculptures, not her personal life.

PAULINA: My sister is right.

MATTHEW: Look, Mom, why don't we go home?

RACHEL: I can't leave my own opening.

PAULINA: But everyone will understand, if you walk out now, with your head held up, with dignity.

RACHEL: Dignity? Have I any left?

AMANDA: Always, Mom. Always.

RACHEL: Then I will not run away, like a coward. I will stay until closing, and then, and only then, will I leave, with my dignity (turns to Carl, speaks coldly) and without you.  
FREEZE FRAME


	42. Episode 42

This episode begins on the morning after the previous episode ended.

SCENE ONE

(The scene is Joe and Paulina's bedroom. Joe and Paulina are awake and talking.)

PAULINA: I still can't believe everything that happened yesterday.

JOE: Yeah. That ultimatum from Grant, the rumor about Josie and me

PAULINA: And the fiasco at Rachel's opening. Now, what I don't understand is why Iris would come to Bay City to bury the hatchet. She's always hated Rachel.

JOE: I know. Something doesn't add up. Of course, _our_ biggest problem right now is that Dante found out about Tito, and now he wants to know how come he's never been to the house.

PAULINA: What are we going to do about that?

JOE: Well, Dante wants to know his (hesitates) his big brother, so I guess we'll have to let Tito come here for supper sometime.

PAULINA: After what he did? Because of him, I almost went to prison for murder, and worse, I almost  
missed out on knowing that Remy is my daughter.

JOE: That's just it. Remy lives here, so how can we explain to Dante that Tito can't even _visit_?  
FADE OUT

SCENE TWO

(The scene shifts to a hotel room in Chicago, two hours later. Iris is talking on the phone)

IRIS: It went even better than we expected. (Pause) I know. She was absolutely shocked. (Pause) No, it definitely  
was NOT the opening night she expected.(Pause) And you played your part brilliantly. (Pause) No, of course we can't be seen together for awhile, Lydia.  
FADE OUT

SCENE THREE

ONE HOUR LATER

(The scene shifts to the rectory of the Catholic Church. Joe is talking with Fr. Malone.)

FR. MALONE: You do have a lot on your plate, Joe. There's no denying it.

JOE: I blame myself for not telling Dante about Tito as soon as I found out.

FR. MALONE: Well now, you had other things to deal with at the time.

JOE: And now I have even more stuff to deal with.

FR. MALONE: Well, let's go over them in order of importance. What do you think comes first?

JOE: Well, Dante wants to get to know his brother.

FR. MALONE: What about little Ryan Gabriel? Does he know anything about this?

JOE: Not yet. I asked Dante not to say anything. I told him we could surprise Ryan Gabriel later on.

FR. MALONE: Sounds to me as though you've decided to invite Tito to your house.

JOE: I just hope and pray... mostly pray... that it doesn't cause a problem between me and Paulina.  
FADE OUT

SCENE FOUR

TWO HOURS LATER

(The scene shifts to the home of Commissioner Howard Walters. Peggy is on the phone.)

PEGGY: Can you believe what (doorbell rings) Oh, there's the door. I'd better get it. I'll talk to you later. Bye.  
(Hangs up phone, goes to door, looks out, opens door, frowning. Josie is standing there.) What are _you_ doing here?

JOSIE: I came to talk to you, Peggy.

PEGGY: I have nothing to say to you.

JOSIE: But I have something to say to you. Now, we can do it inside, or we can do it out here, but I'm not leaving until we settle this.

PEGGY: Settle what?

JOSIE: You know damn well what.

PEGGY: Excuse me?

JOSIE: Don't play innocent with me, Missy. I know you did it to get even with me, but why did you have to involve Joe?

PEGGY: Are you talking about that online rumor about you? Because if you think I'm the one who posted it, you have another  
think coming. In the first place, I wouldn't sink to that level, and in the second place, like you said, why would I involve Joe?

JOSIE: You didn't post that rumor?

PEGGY: No, I didn't, and I think you have a Hell of a nerve coming here and accusing me after what you did.

JOSIE: I thought you did it to get even with me. I mean, you were pretty mad. (Hesitates, remembering something)  
Oh, my God!

PEGGY: Now what?

JOSIE: I just remembered. You don't have a computer.

PEGGY: (sarcastically) The light dawns.

JOSIE: Look, I'm sorry. I was wrong. (Embarrassed) I'll be going now. (Thinking) If Joe finds out about this, I'm dead.  
FADE OUT

SCENE FIVE

(The scene shifts to THE JASMINE GARDEN. Cindy is alone at a table. Grant walks in.)  
GRANT: Hello, Cynthia. Eating alone?

CINDY: As a matter of fact, I am.

GRANT: Hmmm.

CINDY: Excuse me? You seem to be unaccompanied as well.

GRANT: That's different. I can afford to dine alone if I so choose, but it really doesn't look proper for a woman do so.

CINDY: Have you looked at a calendar lately? This is 2003, after all. However, if you are so concerned about your former wife  
eating by herself, I have the perfect solution. Why don't you join me?

GRANT: Oh, well, I can't see any harm in it. (Sits down, facing Cindy.)

CINDY: No, it will just be a pleasant meal.(Thinks) You don't know it yet, Grant, but this is just the beginning.  
FADE OUT

SCENE SIX  
(The scene shifts to the squad room of the 2-3. Toni and Naomi are looking at a file.)

TONI: I'm glad Joe put us on this case together, Naomi.

NAOMI: Me, too, but I know you'll also be glad when Josie's punishment is over.

TONI: Yes, I will be, but I've still got to say this. Josie is my friend, but I can't deny that she deserves

NAOMI: (changing the subject) Speaking of Josie, shouldn't she be back from her break pretty soon?

(Josie walks in)

TONI: Here she is now. Hey, Josie.

JOSIE: Hi, guys. (Notices file) Boy, I wish I could help you with that case, but(sighs)

(Joe comes out of his office.)  
TONI: There'll be other cases.

JOE: Toni, Josie, come into my office.

JOSIE: (thinking) Uh oh.

TONI: (thinking) He knows what I did.

(Toni and Josie walk into Joe's office. Joe locks the door and closes the blinds.

JOE: We have a problem.

TONI and JOSIE: (simultaneously) Wait, Joe. I was the one who  
JOSIE: Went to see Peggy Walters.

TONI:(at the same time) Posted that response.

JOE: Hold it! One at a time, now.

TONI: Josie had nothing to do with it.

JOSIE: What do you mean, I had nothing to do with it? It was all me.

TONI: You didn't post that response.

JOSIE: You weren't with me when I went to see Peggy Walters.

JOE: What are you two talking about?

TONI: You mean you don't know?

JOE: No, but I think you two had better tell me.

TONI: Okay. I knew you wanted us to ignore that rumor, but I just had to post a response.

JOE: All right, so what, exactly, did you say?

TONI: I said that it was true that you sometimes took Josie in your arms and stroked her hair, but you're always  
doing stuff like that, and patting our shoulders, but there's never been any impropriety, and everyone who knows you knows that.  
And I signed my name to it.

JOE: Well, I can't reprimand you for that, Toni. Now, Josie, what were you trying to say before?

JOSIE: Speaking of that rumor, I thought Peggy Walters was the one who posted it, you know, to get even with me for the  
rumor I started about her father.

JOE: And?

JOSIE: (thinking) He didn't know. Why didn't I just keep my mouth shut?

(A few seconds go by)

JOE: Well, Josie?

TONI: Should I wait outside?

JOE: That's up to Josie.

JOSIE: No, I'd rather you stayed.

JOE: All right, Josie, just what did you do?

JOSIE: (reluctantly) I went to see Peggy Walters, and I confronted her about that rumor.

JOE: You didn't!

JOSIE: I did. I thought she, or maybe the Commish, had called you to complain about it.

JOE: Nobody called me.

TONI: Wait a minute, Joe. You said we had a problem.

JOE: We do, and you two are involved.

JOSIE: What's up? (thinking) Maybe he'll forget about what I just told him.

JOE: You're not going to believe this, but our esteemed mayor wants me to reinstate Chip Rayburn.

TONI: No! Oh, no!

JOSIE: He's got to be kidding!

TONI: Is it because of the way we got him to confess?

JOE: That's the reason he gave me.

JOSIE: But that was six years ago!

JOE: That doesn't mean a thing to Grant. He gave me an ultimatum. Either I reinstate Rayburn, or I fire the two of you.

TONI: Talk about Hobson's Choice.

JOSIE: What if you refuse to do either one?

JOE: Then Grant will fire me. He gave me a week to decide.

TONI: (bitterly) How generous of him.

JOE: Look, since whatever I decide will affect you two, I think it is only fair that we decide this together.

JOSIE: If you resign, or get fired, I wouldn't put it past Grant to make Rayburn the new captain.

TONI: And I'd rather work with Rayburn, even after what he did to me, than have you leave.

JOSIE: Look, Joe, whatever you decide, we'll go along with it. We trust you.

TONI: Absolutely.

JOE: I know you do, and it means a lot to me. (Puts his arms around them and hugs them for a few seconds, then releases them.)  
Oh, by the way, Josie, you and I are going to have a talk later on.

JOSIE: Yes, sir.  
FADE OUT

SCENE SEVEN: CLOSING SCENE

(The scene shifts to CARLINO'S. Tito walks in and sits down at a table. Paulina comes out of the kitchen, walks over to table.)

PAULINA: You're not welcome (breaks off)No, I take that back. I'm _glad_ you're here.

TITO: (surprised) You are?

PAULINA: Yes, because there is something I want to say to you. Where do you get off telling Dante that Joe is your father?

TITO: I thought he should know.

PAULINA: That was for me and Joe to decide. You've created a very awkward situation for us.

TITO: Look, I'll just eat, and leave, if that's all right with you.

PAULINA: (reluctantly). Oh, very well, but just this once.

(Tito picks up menu. Dante and Sofia walk in, unseen, and approach table)

DANTE: Hi, Mommy.(Tito drops menu, looks up. Dante smiles.) Oh, good. Tito's here. Now we can eat together.  
FREEZE FRAME


	43. Episode 43

This episode takes place on the same day as the previous episode.

SCENE ONE

(The scene is Cass Winthrop's law office. Rachel is inside with Cass.)

CASS: Are you sure you want to do this? I understand how angry you are at Carl, and I can't say that I blame you, but this  
is a very drastic step to take.

RACHEL: I worked for months getting ready for that exhibit, and my personal life is what ended up on display.

CASS: Look, I'm going to play Devil's Advocate here. How did you feel when you thought Carl was dead?

RACHEL: I would have given anything for another moment, just one more moment, with him. I can never forget that I wasn't there  
when Mac died. The difference is, Mac didn't leave me on purpose. What Carl did was deliberate.

CASS: What surprises me is that Iris is involved. She never had a good relationship with you and Carl.

RACHEL: (scoffing) That's an understatement.

CASS: Listen, Rachel, I can't be your divorce attorney, because I'm already the attorney for Cory-Hutchins.

RACHEL: I hadn't thought of that.

CASS: And besides, you and Carl are my friends, and I'd really rather see you work things out.

RACHEL: I don't see that happening.

CASS: You never know. There was a time, after all, when nobody would have believed that you and Carl would someday be friends,  
let alone married.  
FADE OUT

SCENE TWO  
(The scene shifts to The Lucky Lady. Sergei, Felicia, and Derek are having a cup of coffee.

FELICIA: It's such a shame what happened at Rachel's opening last night.

SERGEI: How could a man do that to his wife?

DEREK: I don't think anybody even looked at Rachel's sculptures.

FELICIA: I know, and she put so much into them. I could strangle Carl with my bare hands.

(Etta Mae approaches)

ETTA MAE: How's your coffee?

(All respond, ad lib, that it is very good.)  
FADE OUT

SCENE THREE  
(The scene shifts to Joe's office at the 2-3.Joe and Josie are inside.)

JOE: All right, Josie, I want you to tell me what happened between you and Peggy Walters.

JOSIE: Like I told you, Joe, I went to the house and I confronted her.

JOE: About the rumor someone started about us?

JOSIE: I really thought she was the one. I mean, she sure had a motive.

JOE: (sternly) Josie, don't try to justify what you did. You jumped to a conclusion, and you acted without any real  
evidence. Now, is that good police work?

JOSIE: No, sir.

JOE: And didn't I tell you not to pursue this? Didn't I say to ignore the rumor because nobody who knew us would believe it?

JOSIE: Yes, sir.

JOE (sighs) Josie, what am I going to do with you?

JOSIE: I don't know. I mean, I'm already demoted way down to Cadet.

JOE: That's just temporary, and you know it.

JOSIE: Is it? You said I had to retract the rumor everywhere I found it. Well, that could take months. Remember that rumor about Felicia plagiarising "Count On Love"?

JOE: What about it?

JOSIE: That rumor is still floating around on some message boards.

JOE: Josie, once you've gone to a board and retracted the rumor, you are not responsible if someone else re-posts it. Now,  
let's get back to what you did wrong today, and how we are going to deal with it.

JOSIE: (thinking)You mean, how _you're_ going to deal with _me_.  
Yes, sir.

JOE: First of all, you owe Peggy Walters an apology.

JOSIE: I've already apologized.

JOE: Good, but you'll still have to be punished. It's for your own good.  
FADE OUT

SCENE FOUR

(The scene shifts to CARLINO'S. Tito is seated at a table; Paulina, Sofia, and Dante are standing nearby.)

DANTE: Isn't that right, Mommy? Shouldn't me and Tito eat together, since he's my brother?

PAULINA: (low voice, to Sofia) This is all I need.

SOFIA: (low voice) I didn't know he was here.

PAULINA: (low voice) I know. It's not your fault. I mean, who'd have thought he'd have the nerve to show up here?

TITO: Look, if this is a problem, I can go someplace else.

DANTE: (puzzled) What's wrong? I want to eat with Tito.

PAULINA: Excuse us a minute. Dante, please come with me.

(Paulina takes Dante out of earshot.)

DANTE: Did I do something wrong?

PAULINA: No, Dante, you didn't.

DANTE: Then what's wrong, Mommy?

PAULINA: Why do you want to eat with Tito? You don't even know  
him.

DANTE: I know I don't know him yet, but he's my brother, and that means I'm supposed to love him, right? Don't brothers always love each other?  
FADE OUT

SCENE FIVE  
  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are still inside, with the door locked and the blinds closed.)

JOSIE: Okay, what punishment do you have in mind?

JOE: Well, you've already apologized to Peggy Walters, so I think I can let you off with a slap on the wrist this time.

JOSIE: So you're letting me off lightly?

JOE: You could say that.

JOSIE: That's a relief. So what are you going to do?

JOE: I told you. I'm letting you off with a slap on the wrist.

JOSIE: You're kidding, right?

JOE: No, I'm serious, Josie. Now come on, give me your wrist, and let's get it over with.

JOSIE:(sighs) All right. (holds her wrist out to Joe.)

JOE: (taking Josie's wrist in his left hand) Now, Josie, this is for your own good.  
(slaps Josie's wrist, hard enough to sting, but not do any damage.)

JOSIE: (wincing) OW!

JOE: (gently) There. It's over. (Thinks) God, I hated doing that. (Takes Josie in his arms and strokes her hair.)

JOSIE: I haven't had my wrist slapped since I was a little girl, and Mama caught me taking a cookie when it was almost supper time.*

JOE: Did you ever do it again?

JOSIE: Let's just say, I didn't get caught again.

JOE: So maybe you've had that slap on the wrist coming for a long time.

JOSIE: Maybe. (Changing the subject) Do you know what you're going to do about Grant's ultimatum?

JOE: Yeah. I'm going to tell Grant exactly what he can do with it.  
FADE OUT

SCENE SIX  
(The scene shifts to a hotel suite in Chicago... not THE ROSENTHAL HOTEL; definitely not THE ROSENTHAL HOTEL. Carl is on the phone.)

CARL: Rachel, please, let me explain.

(Screen splits, and we see Rachel, at the offices of CORY-HUTCHINS PUBLISHING, talking on the phone.)

RACHEL: There is no way you can explain letting me think you were dead, and ruining my opening.

CARL: Shakespeare was right.

RACHEL: What has Shakespeare to do with this?

CARL: He said, "Lord, what fools these mortals be."

RACHEL: I am familiar with the quote, and with the play.

CARL: As I said, he was right.

RACHEL: Well, you certainly made a fool of me.

CARL: No, love. I am the fool. I was a fool not to tell you about Lydia the instant she contacted me. I was a fool to allow her  
to intimidate me. I was a fool not to look into her claim that our divorce wasn't legal. Most of all, I was a fool to listen to Iris.

RACHEL: Iris?!

CARL: It was her idea to tell you that I had died.

RACHEL: And you took advice from _her_ of all people?

CARL: At that point, I might even have taken advice from (breaks off) No, that would never happen. Hell would freeze before I'd ever take  
advice from Grant.

RACHEL: I went to see Cass today.

CARL: Why?

RACHEL: Quite honestly, to file for a divorce.

CARL: But Cass is the attorney for CORY-HUTCHINS, so he can't represent one of us against the other. Unless you are planning to  
dissolve _that_ partnership as well?

RACHEL: Right now, I don't want to think about the business end of things. It's enough that I keep thinking about what happened between  
you and Lydia

CARL: One of the great mistakes of my life.

RACHEL: But I also keep remembering how I felt when I thought you were dead.

CARL: How do you feel at this moment?

RACHEL: Confused. Not sure whether I should have divorced you or forgiven you months ago.

CARL: If I were standing in front of you right now, what would you do?

RACHEL: (thoughtfully) I don't know. I honestly don't know.  
FADE OUT

SCENE SEVEN: CLOSING SCENE

ONE HOUR LATER

(The scene shifts to Grant's office at City Hall. Grant is seated at his desk, going through a stack  
of papers. There is a firm knock at the door.)

GRANT: Who is it?

JOE'S VOICE: It's me!

GRANT: (getting up and opening door) Ah, Captain Carlino, Won't you come in? (Joe strides inside) I take it this is about what you  
and I discussed?

JOE: Yes, I've made up my mind, Grant.

GRANT: Well, which shall it be? Is Chip Rayburn re-hired, or are Burrell and Sinclair fired?

JOE: Neither one. I'm not re-hiring a rapist, and I'm not firing two good cops.

GRANT: Now see here. I gave you a clear choice, and

JOE: No, you see here. You didn't give me a choice. You gave me an ultimatum. Well, let me tell you something, Mr. Mayor.  
You don't run my precinct, and you sure as Hell don't run me.

GRANT: So you refuse to re-hire Chip Rayburn?

JOE: That's right.

GRANT: And you also refuse to fire Burrell and Sinclair?

JOE: That's right.

GRANT: Well, Captain Carlino, or should I say " _ex_ Captain Carlino"

JOE: What do you mean, " _ex_ Captain"?

GRANT: As of now, you're fired.

(Grant looks smug; Joe glares at him.)  
FREEZE FRAME

**Notes for the Chapter:**

> OOPS! I've contradicted canon.
> 
> I had forgotten Sharlene saying that she had _never_ struck Josie... not even  
> when she ran into the street.


	44. Episode 44

This episode begins where the previous one left off.

SCENE ONE

(The scene is Mayor Grant Harrison's office at City Hall. Joe is inside with Grant.)

GRANT: So you refuse to re-hire Chip Rayburn?

JOE: That's right.

GRANT: And you also refuse to fire Burrell and Sinclair?

JOE: That's right.

GRANT: Well, Captain Carlino, or should I say " _ex_ Captain Carlino"

JOE: What do you mean, " _ex_ Captain"?

GRANT: As of now, you're fired.

(Grant looks smug; Joe glares at him.)

JOE: I'm fired?

GRANT: Effective immediately.

JOE: I don't think so.

GRANT: Well, think again. As the mayor, I have the power to remove anyone I feel is unfit.

JOE: If you really want to remove someone who is unfit, why don't you resign?

GRANT: Now see here!

JOE: No, Mister Mayor, _you_ see here. You take my shield, and in less  
than an hour, everyone in Bay City will know you fired me because I wouldn't re-hire a convicted rapist. In fact, now that I think of it ,maybe they should know about this anyway, and about the fact that you are the one who posted that rumor about Josie and me

GRANT: How did you know?

JOE: I didn't. It was just a hunch. But now I have it straight from the horse's (deliberate pause, keen look at Grant) mouth.  
FADE OUT

SCENE TWO  
(The scene shifts to the living room of the Cory-Hutchins mansion. Rachel, Cory, and Elizabeth are on the sofa.)

CORY: Mommy, where's Daddy?

RACHEL: He's not here.

ELIZABETH: Will he be back soon?

RACHEL: I don't know.

CORY: Are you still mad at him?

RACHEL: Why do you say, "still mad"?

ELIZABETH: You've been mad at him for a long, long time.

RACHEL: Why do you think I'm mad at your father?

ELIZABETH: You never smile at him any more.

RACHEL: Well, your father did something he shouldn't have done.

CORY: What did Daddy do that was so bad?

RACHEL: It's grown-up stuff.

ELIZABETH: Dumb old grown-ups.

RACHEL: What do you mean, "dumb old grown-ups"?

ELIZABETH: When me and Cory fight, you make us stop and be friends again.

CORY: Yeah. So why can't you and Daddy be friends again?

RACHEL: It's complicated. (Cory and Elizabeth look puzzled; after all, they are only six years old.) I mean, it's hard to explain. Listen,  
why don't we go over to Foster Park and feed the ducks?  
FADE OUT

SCENE THREE

(The scene shifts to the squad room at the 2-3. Josie, Toni, and Adams are standing near the coffee pot, drinking coffee and talking.)

ADAMS: I saw Joe walk out, and did he look angry.

JOSIE: He _was_ angry. He went to see Grant.

TONI: About that ultimatum?

JOSIE: Uh huh.(Camera angle widens, and we see Joe walk into the squad room.)

ADAMS: Grant gave Joe an ultimatum?

TONI: He sure did.

ADAMS: What sort of an ultimatum? (Joe approaches.)

JOSIE: He told Joe that he could either re-hire Chip Rayburn  
ADAMS: That rapist dirtbag? No way Joe would re-hire him! So what was the other choice?

JOE: My other choice was to fire these two. (sternly) And didn't I tell you not to say anything about that ultimatum?

JOSIE: Yes, sir.

JOE: Have you mentioned it to anyone else?

TONI: No, sir.

JOSIE: No, sir.

JOE: Good. Let's keep it that way.  
FADE OUT

SCENE FOUR  
(The scene shifts to Grant's office at City Hall. Grant is on the phone)

GRANT: His mind is made up. (Pause) Well, I really didn't have any other choice.(pause) Well, so far none of my plans for Captain  
Joseph Carlino have worked. (long pause) Yes, I'm still here.(pause) Well, I've just thought of something.(pause) Well, I'd rather we  
discussed it in person, but believe me, it's going to make Joe wish he _had_ re-hired you.  
FADE OUT

SCENE FIVE: CLOSING SCENE

(The scene shifts to the duck pond at Foster Park. Carl is sitting on the bench, watching the ducks as they swim around.)

CARL: (thinking)Why am I sitting here, watching these ducks, 

(Camera angle widens, and we see Rachel approaching with Cory and Elizabeth. They do notsee Carl, nor does he see them.)  
FREEZE FRAME


	45. Episode 45

This episode begins where the previous episode left off.

SCENE ONE

(The scene is the duck pond at Foster Park. Carl is  
sitting on the bench, watching the ducks.)

CARL: (thinking) What's become of you, Carl Andrew Hutchins? What's become of the Carl who didn't things lying down?  
The Carl who stopped at nothing to get what he wanted? True, that Carl was not the Carl I am now, and I'm glad he is gone, but  
in letting go of his evil, have I also lost his strengths?

(Rachel arrives with the twins; she and Carl exchange startled looks. Cory and Elizabeth sit next to Carl, Cory on his right,  
Elizabeth on his left.)

RACHEL: What are you doing here?

ELIZABETH: He's watching the ducks, Mommy.

CARL: That's right. I'm watching the ducks.

RACHEL: I thought you were still in Chicago. Tell me the truth, Carl. Were you hoping I'd bring the children here?

CARL: No, but I must admit that I'm glad you did.

ELIZABETH: Can me and Cory go feed the ducks now?  
FADE OUT

SCENE TWO

(The scene shifts to show a split screen. Grant is on the left side, Joe is on  
the right. They are talking on the phone. Grant looks arrogant; Joe looks annoyed.)

JOE: Another press conference, Grant?

GRANT: Believe me, you'll be very interested in what I have to say.

JOE: Really?

GRANT: Take my word for it. You're going to wish you had re-hired Chip Rayburn when you had the chance.

JOE: In your dreams. If there's one thing I know I'll never regret, it's refusing to re-hire that rapist bastard.

GRANT: Just be sure you watch that press conference. I'll be holding it at ten tomorrow morning.  
FADE OUT

SCENE THREE

(The scene shifts to the duck pond at Foster Park.  
Cory and Elizabeth are feeding the ducks; Carl and Rachel are talking in low voices.)

CARL: I was having quite an inner conversation with myself before you showed up.

RACHEL: What about?

CARL: About myself. Or rather, about the Carl I _used_ to be.

RACHEL: Which Carl is that?

CARL: The Carl who wasn't a pushover, the Carl who didn't take things lying down. Well, that Carl is back, and that  
Carl wants you, at long last, to make a decision one way or the other.

RACHEL: So what are you saying?

CARL: I'm saying that I cannot, and I will not, go on living in the same house, and yet not being together. I once had a friend who used to say,  
"Chirp, or get off the perch."

RACHEL: That's cute.

CARL: I'm not being cute, Rachel. I'm serious. It's time or you to chirp or get off the perch.

RACHEL: (indignantly) Are you giving me an ultimatum?

CARL: Yes, Rachel, I am. Finally, after all these weeks, I am giving you an ultimatum.

RACHEL: Which is?

CARL: Either you forgive me completely, and we resume our marriage in every way, or we get a divorce.  
FADE OUT

SCENE FOUR

The scene shifts to show a split screen. On the left, we see the shadow of a man; on the right, we see  
Sofia. They are talking on the phone.)

MAN: Long time no speak.

SOFIA: How did you get this number?

MAN: Never mind how I got it.

SOFIA: Why can't you leave me alone? I've tried so hard  
to forget what happened, to forget what you did to me

MAN: You weren't exactly an innocent angel, and you know it.

SOFIA: I was stupid. It was the first time I'd ever been completely on my own.

MAN: Have you told that police captain brother of yours what happened in England?

SOFIA: Are you crazy? If he ever found out about that  
FADE OUT

SCENE FIVE

THAT NIGHT

(The scene shifts to Joe and Paulina's bedroom. Joe and Paulina are in bed, talking.)

PAULINA: And then Sofia walked in with Dante, and he got all excited because now he and Tito could eat together.

JOE: How did you handle it?

PAULINA: I let them eat together.

JOE: That was probably the best thing to do. I mean, Dante doesn't know anything except that Tito is my (hesitates)

PAULINA: Your son, and Dante, Ryan Gabriel and Angela Rose's half-brother.

JOE: He's also the guy who was going to let you go to prisonf or murder. _That_ is what I can't forgive.

PAULINA: Even though he's your son?

JOE: That makes it even harder. I can't get past the fact that someone who is my flesh and blood could have done such a thing.

PAULINA: Just being related doesn't make people alike. I mean, look how different Ryan was from Grant.

JOE: Oh, speaking of Grant, he fired me today.

PAULINA: Wait a minute. He fired you? But you still have your shield.

JOE: What I should have said was, Grant _tried_ to fire me, but  
I convinced him that it wasn't a good idea. By the way, he's holding another one of his press conferences tomorrow morning.

PAULINA: What do you think he'll have to say this time?

JOE: I have no idea, but knowing Grant, it's probably nothing we  
want to hear.  
FADE OUT

SCENE SIX: CLOSING SCENE

THE NEXT MORNING

The scene shifts to the squad room of the 2-3.  
Joe, Toni, Josie, Adams, Johnson, Naomi, and several other officers are gathered around a small portable television. Grant is onscreen)

GRANT: I stand before you today to introduce you to the man I've chosen, after due consideration, as my new deputy mayor.  
My choice may surprise you, given this person's past, but I don't believe in judging people by their past mistakes.

JOE: Unless it suits your purpose.

GRANT: After all, if we were judged solely by our past mistakes, I would not be standing here today as your mayor. After all, I was the cause, albeit accidentally, of the death of my beloved brother Ryan.

JOSIE: There he goes again.

TONI: Can you believe this garbage?

GRANT: Since this man's return to Bay City, he has been a model citizen. It therefore gives me great pleasure to announce that your new deputy mayor is Mr. Charles, otherwise known as "Chip", Rayburn.

FREEZE FRAME


	46. Episode 46

This episode begins about thirty minutes after the previous one ended.

SCENE ONE

(The scene is Joe's office at the 2-3. Joe, Toni, and Josie are inside.)

TONI: Unbelievable. Just unbelievable. A convicted rapist... _my_ rapist... is now the Deputy Mayor.

JOSIE: I keep thinking this is all my fault.

JOE: No, Josie, it isn't.

JOSIE: Oh, come on. We all know it's my fault. I'm the one Rayburn called, and I'm the one who went after him even though  
I'd promised you that I wouldn't act on my own.

JOE: Josie, listen to me. That has absolutely nothing to do with what's happening now. If anyone's to blame for Chip Rayburn  
being our new Deputy Mayor, it's me.

TONI: You? How?

JOE: Remember when Grant gave me that ultimatum?

JOSIE: Re-hire Chip, or fire us?

JOE: Yeah. Maybe I should have re-hired him.

JOSIE: You can't be serious.

TONI: You're kidding, right?

JOE: No. I could have re-hired him. Neither one of you would ever have to work the same shift as him. He would  
never have been partnered with _any_ female officer, and I could have seen to it that he had at least two other  
officers with him when he was in the field.

JOSIE: But how would you have looked, re-hiring a rapist? I mean, a lot of people would have stopped trusting you.

JOE: Would you have stopped trusting me?

TONI: No, sir.

JOSIE: Never.  
FADE OUT

SCENE TWO

(The scene shifts to Sofia's bedroom. Sofia is sitting on her bed, talking on the phone, and she is angry.)

SOFIA: I told you not to call me again. (Pause) You know I haven't told him. (Pause) How could he possibly find out?  
(Pause) On the Internet? But I thought we destroyed them! (Pause) No, he won't see them. (pause) Why not? Because  
my brother wouldn't look at such websites. (long pause)Yes, I got the address. (pause) Right. I'll check itout and call you back. (pause) Yes, I still have your number. (hangs up phone, covers her face with her hands.) Oh, God, if he's telling the truth, what am I going to do?  
FADE OUT

SCENE THREE

(The scene shifts to Cass Winthrop's law office, several hours later. Cass andRachel are inside.)

CASS: Are you sure about this, Rachel? The last time we discussed this,I advised you to wait.

RACHEL: Things have changed since then.

CASS: How?

RACHEL: He gave me an ultimatum yesterday. (angrily) After everything he's pulled, _he_ gave _me__ an ultimatum.

CASS: Exactly what sort of an ultimatum did he give you?

RACHEL: That either our marriage gets back to where it wasbefore all that Lydia business, or it ends completely.

CASS: And what about what _you_ want, Rachel?

RACHEL: I want for this whole situation with Lydia to not have happened, but that's impossible.  
FADE OUT

SCENE FOUR

(The scene shifts to The Lucky Lady. Etta Mae is talking to some customers at the counter. We don't hear what they are saying. Sergei  
is at the piano, playing a medley of Russian folk songs. Carl and Felicia are in a booth, sipping coffee.)

CARL: He plays beautifully.

FELICIA: Yes, I know he does.

CARL: I really appreciate your agreeing to see me. I'm sure you'd much rather just sit here quietly and listen to the music.

FELICIA: Well, to be honest, I don't see any point in our meeting. After everything you did, cheating on Rachel, and then letting her think you were dead, if only for a few minutes, I don't think I can do anything to help save your marriage.

CARL: That's just it. I don't want you to help save my marriage.

FELICIA: (puzzled) You don't?

CARL: No, Felicia, I don't. What I want you to do is persuade Rachel to divorce me.  
FADE OUT  
SCENE FIVE: CLOSING SCENE

(The scene shifts to the squad room at the 2-3. Josie is at her computer. Naomi walks up to her.)

NAOMI: How are your retractions coming along?

JOSIE: (sighs) Just when I think I've covered every board where someone copied my message, another one turns up.

NAOMI: It's like that old story.

JOSIE: You mean _Feathers in the Wind_ ? (Naomi nods her head.) It's funny. Joe told me that story the day after he demoted me to Cadet.

NAOMI: I'll be glad when you're a cop again. I'd really like to work with you on a case.

JOSIE: I'd like to work with you, too. But meanwhile, I have to keep searchingthese boards. (Points, clicks. The following message appears onscreen:  
HEY, DETECTIVE SINCLAIR. TELL YOUR CAPTAIN THAT INSTEAD OF COMING DOWN ON YOU FOR POSTING ONE RUMOR, THAT MAY, DESPITE ALL CLAIMS TO THE CONTRARY, BE TRUE, HE SHOULD CHECK OUT HIS OWN LITTLE SISTER ON THE INTERNET. HERE'S THE LINK)

NAOMI: What's that all about?

JOSIE: I don't know, but I'd better check it out.  
We see the words DOWNLOADING PICTURE. Slowly, Sofia's face appears on the computer screen. Instead of the usual FREEZE FRAME, the TV screen fades to black, and then we hear Josie's horrified voice.) Oh, my God!


	47. Episode 47

This episode begins where the previous one left off.

SCENE ONE  
(The scene is the squad room of the 2-3. Josie is at her computer. We do not see the screen. Naomi is standing nearby.)

NAOMI: What are you going to do about this?

JOSIE: First of all, I'm reporting this to the board monitor, because garbage like this shouldn't be posted on a public board.

NAOMI: You're right about that.

JOSIE: And then I have to figure out a way to tell Joe.

NAOMI: Maybe you shouldn't tell him just yet.

JOSIE: Why not? He'll have to know sometime.

NAOMI: Then let his sister tell him... if that really is her.

JOSIE: (grimly) Believe me, that's Sofia Carlino.

NAOMI: Maybe not. Maybe it's just her face on someone else's body. It's been done before.

JOSIE: I hope you're right, because if his sister is involved in something like this, Joe is going to be devastated.  
FADE OUT

SCENE TWO

(The scene shifts to Sofia's bedroom. Sofia is sitting on her bed, praying.)

SOFIA: Please, God, I know what I did was a sin, but You know I was desperate. I never thought he'd publish those pictures on  
the Web. Please, God, please don't let Joey see that website.Please don't let him or anyone else in my family find out what I did.   
(Phone rings; Sofia picks up the receiver.) Hello? Yes it is. (pause) Right now? Yes, I guess I could. (pause) The Jasmine Garden?   
Why can't we meet at (pause) Oh. All right. I'll be there in a half hour.  
FADE OUT

SCENE THREE

(The scene shifts to THE LUCKY LADY. Carl and Felicia are just where we left them; Sergei is still playing Russian  
folk songs on the piano. Felicia is looking at Carl in disbelief.)

FELICIA: Excuse me, I must have misunderstood you. I could have sworn you said

CARL: That I wanted you to convince Rachel to divorce me? No, you didn't misunderstand. That's exactly what I want you to do.

FELICIA: But why?

CARL: Because I cannot continue to live in that cold mansion any longer.

FELICIA: Cold? Carl, it's summer, remember? Oh. That's not what you mean by "cold", is it?

CARL: It is torment for me to be so close to Rachel physically, yet not be physically close to her.

FELICIA: It's not easy for Rachel, either.

CARL: So you will try to talk her into filing for divorce?

FELICIA: Yes. It's what I've wanted to do for a long time, and I'm going to be blunt and tell you why. It's because you don't deserve her.

CARL: (thinking)If you only knew how many times I've told myself just that.  
FADE OUT

SCENE FOUR

(The scene shifts to THE JASMINE GARDEN. Josie and Sofia are seated at a table, facing each other, speaking in low voices. There  
is a bowl of won ton soup in front of each of them.)

SOFIA: Josie, can you understand something? I was broke. So I agreed to pose for this guy's private collection...I swear, he told me that nobody else would ever   
see those photos. So I posed a few times, until I had enough money to come home.

JOSIE: Why didn't you just tell Joe you were in trouble? He'd have paid your way home.

SOFIA: Because I didn't want Joe to know how badly I'd flopped. Oh, he knew about C SQUARED not making it, but that was all he knew.

JOSIE: You're going to have to tell Joe about this.

SOFIA: I can't tell Joey I posed for (hesitates) oh, God, I can't even say it.

JOSIE: Look, Sofia, I know your brother. There is nothing, absolutely nothing, that could make him stop loving you.

SOFIA: I know that. It's just that this is something I feel I should handle on my own.

JOSIE: How?

SOFIA: Right after you called me, I got another call.

JOSIE: From that creep?

SOFIA: Right. He wants me to meet him.

JOSIE: He's in Bay City?

SOFIA: Chicago. He's staying at THE ROSENTHAL HOTEL, and he wants me to meet him tomorrow in the lounge.

JOSIE: Perfect. Just see to it that Joe is with you.

SOFIA: No. Please. You can't say anything to Joey. Promise?

JOSIE: (reluctantly) All right. I promise I won't tell Joe. But I'm going with you tomorrow.  
FADE OUT

SCENE FIVE: CLOSING SCENE

A FEW HOURS LATER

(The scene shifts to CARLINO'S. Rachel and Felicia are seated at a table, facing each other.)

RACHEL: We really should do this more often.

FELICIA: We should. I mean, we hardly ever have a good old-fashioned girl chat any more.

RACHEL: Well, I haven't really felt very chatty lately. You understand, don't you?

FELICIA: Carl?

RACHEL: Yes.

FELICIA: Rachel, I'm going to be honest with you. For a long time now, I've thought

RACHEL: That I should divorce Carl?

FELICIA: Yes. After the stunts he's pulled, that's exactly what you should do.

RACHEL: Well, Felicia, great minds think alike.

FELICIA: You mean?

RACHEL: (nods her head) I filed for divorce today.  
FREEZE FRAME


	48. Episode 48

This episode begins the morning after the previous one ended

SCENE ONE

(The scene is Sofia's bedroom. Sofia is on the phone)

SOFIA: I told you I'd be there. (Pause) Of course not. He doesn't know a thing about those filthy pictures. (Pause) Yes, I know I posed  
for them, but I never thought anyone but you would ever see them. (Pause) Of course I want them removed. (Pause) All right, I'll meet you there.  
FADE OUT

SCENE TWO

(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside.)

JOSIE: So how much longer am I going to be a Cadet?

JOE: It hasn't been all that long, Josie, and it won't last forever.

JOSIE: It already _seems_ like forever.

JOE: That's how it is when you're being punished. But I promise you, you'll get your badge back. And don't forget, you're  
being punished

JOSIE: (thinking) Here it comes

JOE: ...for your own good.

JOSIE: Look, I know I'm not in any position to ask for favors right now, but I really need the afternoon off.

JOE: Anything I can help you with?

JOSIE: No; this is something I have to take care of myself.  
FADE OUT

SCENE THREE

(The scene shifts to the exterior of City Hall. Cecile is walking out. Cindy approaches.)

CINDY: What were you doing in there?

CECILE: I was talking with Grant.

CINDY: Political?

CECILE: Personal.

CINDY: Oh, yes, you seem to think Grant is yours.

CECILE: Well, we _are_ meeting for dinner tonight. Not that it's any of your business.

CINDY: Are you sure about that? Grant and I used to be married, you know.

CECILE: Well, according to Grant, the only good thing about his marriage to you was the physical part, if you get my drift.

CINDY: (thinking) That pig. I wonder how many of our intimate details he's shared with her.

CECILE: But that's all in the past now.

CINDY: I wouldn't be too sure about that if I were you.

CECILE: Meaning what?

CINDY: Meaning that Grant and I have recently resumed part of our relationship...(emphatically) the _good_ part.  
FADE OUT

SCENE FOUR

(The scene shifts to Cass Winthrop's law office. Carl and Rachel are inside with Cass.)

CASS: So you both agree to these terms?

RACHEL: Yes. Carl can see Cory and Elizabeth as often as he wants to.

CARL: That is most generous of you, Rachel.

RACHEL: Why drag the children through a long, drawn- out battle over visitation rights?

CASS: That's the worst thing about divorce. I've seen custody and visitation battles which left the kids scarred for life. And all too often, those battles turn out to be a waste of time, because the non-custodial parent stops showing up after awhile.

CARL: That's all too true. I remember a little girl I knew many years ago. Her parents had separated when she was still in nursery  
school. I used to see her sitting in front of her house every Saturday, waiting for her father to come,  
and waiting, and waiting, and waiting. I don't want Cory and Elizabeth going through that.

RACHEL: I'm sure they won't. Whatever your failings as a husband, you _are_ a good father.  


CARL: I wish I had been a good husband.

RACHEL: You were... once. But too much has happened.

CARL: Yes, I know. To use youthful jargon, I blew it. And now there's nothing left but to let you go.

CASS: I'll expedite these papers ASAP, if you really want me to. But as your friend, I urge you to hold off for a month.

RACHEL: No. We want this marriage over.

CASS: May I suggest a compromise? Suppose you, Carl, were to move out for a month.  
Perhaps the time apart would be good for your marriage.

CARL: In order for that to work, I would not only need to leave the house. I'd have to  
remove myself from Bay City altogether.

CASS: If Carl were to do this, Rachel, would you consider a reconciliation at the end of the month?

RACHEL: I can't promise that. All I can promise is that I will consider considering it.  
FADE OUT

SCENE FIVE: CLOSING SCENE

THAT AFTERNOON

(The scene shifts to the lounge of THE ROSENTHAL HOTEL. A well-dressed man in his early thirties with short, dark brown hair is  
sitting at a table. He glances at his watch, drums his fingers on the table. Evidently, the person he's expecting is late.  
Camera focus shifts to door; Josie and Sofia walk in and approach table.)

SOFIA: (coldly) Hello, Brad.

BRAD: You're late, and who is the other broad?

SOFIA: We got stuck in traffic.

JOSIE: And don't call us broads.

(Josie and Sofia sit down. A waiter walks up to the table.)

WAITER: Would you like to order now?

BRAD: Not now, thanks.

JOSIE: We'll let you know when we're ready, but right now we are having a private conversation.

WAITER: Very well. (walks away.)

SOFIA: (when waiter is out of earshot.) Now, let's discuss business. I want you to take down that website.

BRAD: Hey, I paid you good money to pose for those pictures.

SOFIA: And I've got enough to pay you back with interest.

JOSIE: Not that you have it coming after breaking your part of the agreement.

BRAD: Who the Hell are you, and how much do you know?

JOSIE: To answer your second question first, I know all about it. And to answer your first question, I'm a cop.

SOFIA: That's right, and my brother is her captain.

BRAD: Well, tell me, Sofia, how does your police captain brother feel about child pornography?

SOFIA: How do you think he feels? He wants to see every site shut down, and every creep who exploit kids behind bars, and so do I.

BRAD: Tell you what, Blondie

JOSIE: Detective Sinclair (thinks) No need for this Brad creep to know I'm just a Cadet.

BRAD: OK, Detective Sinclair. Your Captain would be really impressed with you if you cracked down on a  
major child pornography ring, wouldn't he?

JOSIE: Well, yes.

BRAD: I thought so. Well, I can give you information about a ring run by an old ex-friend of mine.  
Of course, I'll want something in exchange.

JOSIE: Like what?

BRAD: That _her_ photos stay up.  
FREEZE FRAME


	49. Episode 49

This episode begins where the previous left off.

SCENE ONE

(The scene is the lounge at The Rosenthal Hotel. Josie, Sofia, and Brad are seated at a table, talking.)

SOFIA: So if I let you keep those pictures of me on the Web, you'll help close down a child pornography ring?

BRAD: I'll give you the URL of the site, and the home and business addresses of the guy running the ring. So, do we have a deal?

JOSIE: (grabs him by the shirt) Here's the deal _I'm_ going to make with you, Dirtbag. You give me that info, and you take down those pictures of Sofia.

BRAD: And what do I get out of it?

JOSIE: It's not what you get, it's what you don't get. You do what I tell you, and you don't get the crap beaten out of you by her brother.

BRAD: Oh, yeah. The police captain. Well, just in case it slipped your mind, there's a law against police brutality.

SOFIA: You don't know my brother. If he has to choose between keeping his shield or protecting his family, then to Hell with his shield.

BRAD: Look, let's stop the chitchat. Does my little site come down, or do I help you close a major kiddie porn site?

JOSIE: I think Sofia and I should discuss this privately.

SOFIA: No, Josie. I've already decided what's the right thing to do.  
FADE OUT

SCENE TWO

(The scene shifts to a restaurant in Chicago. Iris and Lydia are at a table, facing each other.)

IRIS: Have you been to the gallery since Rachel's opening?

LYDIA: No. There was no reason for me to go back. I'm not a fan of Rachel Cory's works.

(Felicia, Sergei, and Derek walk into the restaurant.)

IRIS: Neither am I. I have no use for her, or for her sculptures.

(Felicia, Sergei, and Derek, now within earshot, exchange looks, and slip out of sight.)

LYDIA: Is that why you were so eager to have her humiliated in public?

(Felicia, Sergei, and Derek walk up.)

IRIS: Yes. I'd hoped to ruin her opening, _and_ her marriage.

(Camera focuses on Felicia, Sergei, and Derek. From their expressions, it is obvious that they've heard every word.)

FELICIA: (low, furious voice) Let's go before they see us.  
(FADE OUT)

SCENE THREE

TWO HOURS LATER

(The scene shifts to an old-fashioned ice cream parlor in Chicago. Josie and Sofia are at a table, facing each other, eating sundaes with whipped cream.)

SOFIA: So you called Gary?

JOSIE: Yes, and he's going to give Joe the information he needs to handle everything. But I'm still not sure you made the right decision.

SOFIA: _Was_ there a right decision to make?

JOSIE: (sighs) Probably not.

SOFIA: But here we sit, eating hot fudge sundaes as if we didn't have a care in the world.  
FADE OUT

SCENE FOUR: CLOSING SCENE

(The scene shifts to THE TRIPODI GALLERY. Felicia, Sergei, and Derek are looking at Rachel's sculptures. Carl approaches.)

CARL: Greetings, all.

FELICIA: Hello, Carl.

DEREK: (indicating sculptures of Cory and Elizabeth)I think these two sculptures are the most beautiful in the exhibit.

CARL: I remember when Rachel was working on those sculptures. (sighs) So much has changed since then.

(Camera angle widens, and we see Joe approaching.)

FELICIA: I know.

CARL: I was only trying to call Rachel's bluff, but it backfired.

SERGEI: Backfired?

FELICIA: He didn't get the results he expected, right, Carl?

CARL: I told Rachel to chirp or get off the perch. 

FELICIA: And?

CARL: And not only did she chirp, she kicked _me_ off the< perch.

FELICIA: Is Cass handling things?

CARL: Yes. He got us to agree to a trial separation, which will allow me to (hesitates)

DEREK: Allow you to what?

CARL: Court Rachel all over again without our having to be divorced first.

FELICIA: Is that why

CARL: Yes.

FELICIA: Well, the three of us overheard something that just might make things a bit easier for you.

(Joe reaches the group)

DEREK: Hi, Joe. I didn't think you were coming this evening.

FELICIA: Weren't you and Paulina going to bring Dante and his friend Bonnie?

JOE: Actually, I'm not here to look at Rachel's sculptures. I need to talk to you, Carl.

CARL: Is something wrong?

JOE: There's no easy way to say this. Rachel is  
FREEZE FRAME


	50. Episode 50

This episode begins where the  
previous one left off.  
SCENE ONE

(The scene is THE TRIPODI GALLERY.  
Felicia, Sergei, Derek, Carl, and Joe are standing near Rachel's sculptures of Cory and Elizabeth.)

JOE: Rachel is

CARL: Isn't it a little late for this? Rachel and I already agreed to separate. This hardly seems the time for her to try to teach me a lesson.

JOE: Carl, this is

CARL: Oh, stop it, Joe. Don't tell me it's for my own good. I'm not one of your officers.

JOE: Carl, please listen. Nobody is trying to teach you a lesson.

DEREK: Joe, what happened?

JOE: Rachel was mugged.

FELICIA: Oh, my God! Is she

JOE: She's in Intensive Care at Bay City University Hospital.  
FADE OUT

SCENE TWO

(The scene shifts to Josie's car. Josie and Sofia are in the front seat; Josie is driving.)

JOSIE: We're almost home.

SOFIA: You're sure you didn't say anything about me to Gary?

JOSIE: All I told him is that I had info about a child pornography ring. He'll share the information with Joe, but he's keeping my name out of it.

SOFIA: Why do you want _your_ name kept out of it?

JOSIE: Because I'm not supposed to be doing police work right now. I'm being punished, remember?

SOFIA: Oh, yeah. I forgot about that.

JOSIE: So are you going to tell Joe about your involvement in this?

SOFIA: No. I mean, what are the chances of him finding out about that website?  
FADE OUT

SCENE THREE

The next day, back in Bay City

(The scene shifts to Grant's office at City Hall. Grant and Chip are inside, talking.)

CHIP: Oh, by the way, I was surfing the Web last night, and I came across something that should interest you.

GRANT: What did you find?

CHIP: Well, actually it's a porn site, and

GRANT: I'm really not interested in that sort of thing.

CHIP: Believe me, this is one site you'll want to see. In fact, I'll bet you'd find it very useful.

GRANT: I would?

CHIP: Yes. The site has some, shall we say, revealing photos of someone very near and dear to Joe Carlino.  
FADE OUT

SCENE FOUR

(The scene shifts to Rachel's room at Bay City University Hospital. Matt and Amanda are inside. Rachel is hooked up to a monitor, which beeps steadily.)

MATT: I wish she'd wake up.

AMANDA: She will. She has to. We can't lose her. (Walks over to Rachel's bed.) Do you hear that, Mom? You have to wake up. There are a whole bunch of people who really need you.

MATT: Were you able to reach Jamie?

AMANDA: Yes, finally. He'll be here as soon as he can.

MATT: What about Steven and Kirkland?

AMANDA: I don't know.  
FADE OUT

SCENE FIVE: CLOSING SCENE

(The scene shifts to the outer door of Grant's office at City Hall. Tito is standing outside. Voices are heard from inside.)

GRANT'S VOICE: Yes, I'm sure I can put that information to good use, Chip... when the time is right. Meanwhile, we'll just sit on it.

CHIP'S VOICE: For how long?

GRANT'S VOICE: Until the time when it will do the most damage to a certain police captain and his family.

TITO: (thinking)This could be my chance to  
FREEZE FRAME


	51. Episode 51

This episode begins at roughly the same  
time the previous episode ended.

SCENE ONE

(The scene is THE JASMINE GARDEN. Josie and Sofia are at a table, facing each other. There is a teapot in the  
middle of the table. Josie picks up the teapot and pours tea into Sofia's cup, and then into her own.)

SOFIA: Thanks, Josie. (takes packet of sugar, opens, pours it into her cup, stirs. Josie does the same.)Now, why'd you want to meet me here?

JOSIE: (lowers voice) It's about that URL Brad gave us. Gary and I checked it out, and, well, I'm not sure how to tell you this.

SOFIA: Don't tell me that website doesn't exist.

JOSIE: Oh, it exists, all right.

SOFIA: So what's the problem?

JOSIE: The problem is, it's not a pornography site. It's a perfectly safe, perfectly innocent website. _Dante_ could look at it.

SOFIA: You mean there's no lead, and Joey _isn't_ going to get to bust a child pornography ring?

JOSIE: That's about the size of it.

SOFIA: And meanwhile, those pictures of me are still out there.

JOSIE: It gets worse. Gary went to Chicago, but that dirtbag Brad was already gone.  
FADE OUT

SCENE TWO

(The scene shifts to CARLINO'S. Carl and Paulina are at a table, talking.)

PAULINA: Have you told Cory and Elizabeth what's going on?

CARL: (sighs) Not yet... I couldn't tell them. They think Rachel had to go on a business trip.

PAULINA: But did they believe you? I mean, didn't they know you were having problems?

CARL: Yes, and that is why I don't want them to know their mother's been hurt. They're so little, and they've already had enough to  
worry about. I've made so many mistakes.

PAULINA: And right now you may be making the biggest one of all. What will you tell them if

CARL: Please. Don't say it. I'm not allowing myself to consider the worst. But God, I wish this were a soap opera, instead of real life.

PAULINA: (surprised) A soap opera? Why?

CARL: Because then Rachel would wake up with amnesia, and she wouldn't remember how I betrayed our marriage.

PAULINA: Careful what you wish for, Carl.  
FADE OUT

SCENE THREE

(The scene shifts to THE JASMINE GARDEN. Josie and Sofia now are eaing spareribs, and speaking in low voices.)

SOFIA: There's a saying in my family.

JOSIE: What?

SOFIA: You can't kill a Carlino's appetite. And I guess it's true.  
Otherwise, how could I eat at a time like this?

JOSIE: Well, not eating wouldn't help things. Back when Gary and I were having problems, Joe insisted that I take my lunch break,  
and he wouldn't take "no" for an answer.

SOFIA: That sounds like Joey.

(Camera angle widens, and we see Tito approaching the table.)

JOSIE: Speaking of Joe, I still think

(Tito walks up. Sofia turns and sees him.)

SOFIA: What are you doing here?

TITO: Aunt Sofia

SOFIA: Don't call me that.

TITO: This is important.

SOFIA: Well, what Josie and I are talking about is more important that anything you have to say.

TITO: Please, just listen to me. There's something you need to know.

SOFIA: I'm not interested.

TITO: But, Aunt Sofia

JOSIE: Is she speaking English? What part of "I'm not interested" didn't you understand?

(Waiter approaches)

WAITER: Is he bothering you?

JOSIE: Actually, he was just leaving.

WAITER: Are you sure?

TITO: (sighs) Yeah, I'm leaving.

(turns and walks towards door.)  
FADE OUT

SCENE FOUR

FIFTEEN MINUTES LATER.

(The scene shifts to CARLINO'S. Carl and Paulina are now drinking cappuccino and talking. We do not hear their conversation. Tito walks in and  
approaches the table.)

TITO: Paulina, I need to talk to you.

PAULINA: If you don't mind, we're having a private conversation.

TITO: Listen. There's something I have to tell you.

PAULINA: I'm not interested.

TITO: (thinking)Here we go again.

PAULINA: I try to be civil to you in front of Dante,  
because all he knows is that you're his big brother, but you and I have no relationship.

TITO: But

CARL: You heard her, young man. Be on your way.

TITO: I'm going, but you'll be sorry you didn't listen to me.  
FADE OUT  


SCENE FIVE

(The scene shifts to the squad room of the 2-3. Joe is talking with Adams and Naomi.)

NAOMI: I've been saying tehillim for your mother-in-law.

JOE: Thanks. I'm sure they'll help.

ADAMS: What are tehillim?

JOE: Psalms.

NAOMI: You know that? I'm impressed.

JOE: Back when I was with the NYPD, there were some Jewish cops on the force, and we were good friends. Sometimes, on our days off,  
some of us would go for knishes at Mrs. Stahl's in Brighton Beach.

NAOMI: Brighton Beach? That's where my mother comes from. We used to go there in the summer, and stay with my aunt. I loved the beach, and the boardwalk (smiles) and Mrs. Stahl's knishes.

ADAMS: Well, I _do_ know what knishes are.

NAOMI: Do you know what an egg cream is?

ADAMS: Ice cream made with eggs?

JOE: Not even close, is he, Naomi?

ADAMS: Eggs covered with cream?

(Camera angle widens, and we see Tito walk in and approach.)

NAOMI: Nope. An egg cream is

(Tito walks up to Joe.)

TITO: I have to talk to you.

JOE: Hey, don't interrupt.

TITO: But this is important.

JOE: What's so important that you have to interrupt me when I'm talking with my officers?

TITO: It's family business.

J0E: Well, I don't consider you family. And in case I didn't tell you before, I think you had one Hell of a nerve telling Dante

TITO: That I'm his brother? Well, I thought he had the right to know.

JOE: But _you_ didn't have the right to tell him. That was _my_ business. So I don't want to hear anything you have to say.

TITO: Fine. I'm going. (Camera angle widens as Tito walks towards the door. Josie walks in.)

JOSIE: What are you doing here?

TITO: (a bit sullenly) None of your business.  
FADE OUT

SCENE SIX: CLOSING SCENE

(The scene shifts to a living room in an undisclosed city. A man and a fifteen-year-old boy are packing suitcases.)

BOY: I hope Grandma's going to be all right.

MAN: I'm sure she will be, Steven. I just want to be there when she wakes up.

STEVEN: We haven't gone back to Bay City since(sighs)

JAMIE: Since your mother died.

STEVEN: Dad, now that we _are_ going back, shouldn't we tell Kirkland the truth? I mean, he still thinks Grant is dead.  
FREEZE FRAME


	52. Episode 52

This episode begins the morning after the previous one ended.

SCENE ONE

(The scene is Josie and Gary's dining room. Josie and Gary are eating pancakes.)

GARY: I really think you should tell Joe what's going on with Sofia.

JOSIE: I know, but I promised not to say anything. Besides, Joe's got enough on his plate right now.

GARY: Because of what happened to Rachel, right?

JOSIE: Bingo!

GARY: Believe me, Cameron and I want to get our hands on whoever mugged Rachel just as much as you guys at the 2-3 do.

JOSIE: I know you do.  
FADE OUT

SCENE TWO

(The scene shifts to the dining room in the Carlino home. Joe, Paulina, Remy, Sofia, Dante,and Ryan Gabriel are seated around the table, eating bacon, eggs sunny-side up, and toast.)  
PAULINA: It's a beautiful day today.

JOE: Anyone have any special plans?

REMY: Well, I thought I'd take the boys to Foster Park later on.

RYAN GABRIEL: And feed the ducks?

JOE: When do you guys ever go to Foster Park and not feed the ducks?

DANTE: And can Bonnie come, too?

REMY: Of course she can. How about you, Aunt Sofia?

SOFIA: Sure. You know how much I love going to Foster Park with you guys.

JOE: Well, that sounds like a plan, then.

(We hear the insistent yowls of a baby who has just awakened.)

JOE: Sounds like Angela Rose is ready to get out of her crib.  
FADE OUT

SCENE THREE

(The scene shifts to the home of Commissioner Howard Walters. Howard, Marge, and Peggy are sitting at the kitchen table, eating French toast.)

HOWARD: (to Peggy) I'll bet you're glad to be back online.

PEGGY: I'm glad you brought that up, Daddy, because I Googled you, and that rumor Josie Sinclair started is still floating around.

MARGE: But didn't she retract it?

PEGGY: (scoffs) A lot of good that did. There are people who think the rumor is true, and the retraction is a lie. Daddy, why didn't you fire her?

HOWARD: Well, honey, _I_ didn't get fired, did I?

PEGGY: That's because firing you over an Internet rumor would have made Mayor Harrison look bad. But I still think Detective Sinclair _should_ have been fired.

HOWARD: Well, I thought it was best to let her captain, Joe Carlino decide how to deal with her.

PEGGY: Why?

HOWARD: Because if I had dealt with her, it would have been revenge, and I don't believe in revenge.

PEGGY: (thinking)Maybe not, but I do, someday, somehow, I'll get even with Josie Sinclair for everything, _and_ with Joe Carlino for not firing her.  
FADE OUT

SCENE FOUR

SEVERAL HOURS LATER

(The scene shifts to the rectory. Joe is inside with Fr. Austin Malone.)

JOE: Tito came by the precinct yesterday to talk to me.

FR. MALONE: And?

JOE: I threw him out.

FR. MALONE: I thought you were thinking of inviting him over to your house.

JOE: I was, but I keep remembering what he did to Paulina... and to Remy.

FR. MALONE: And how do they feel?

JOE: Remy never talks about Tito if she can help it.

FR. MALONE: And Paulina?

JOE: She's torn between not wanting to have anything to do with Tito, and thinking we should invite him over. And truthfully, so am I.

FR. MALONE: Because you're his father?

JOE: And because I accepted Remy so readily, and because Dante wants to get better acquainted with his big brother. (sighs) Dante is so thrilled to _have_ a big brother.

FR. MALONE: And he wonders why he's never been to your house?

JOE: Yes.

FR. MALONE: Joe, I'm going to ask you a question. Suppose the very first thing you'd learned about Tito had been that he is your son. What would you have done then?

JOE: I would have wished I'd had the chance to be a real fath (chokes, cannot continue speaking.)

FR. MALONE: (softly) You _would have_ wished, or you _wish_?  
FADE OUT

SCENE FIVE

(The scene shifts to Foster Park. Remy is pushing Angela Rose's baby carriage. Ryan Gabriel is walking next to them. Behind them are Sofia, Dante, and Bonnie. Sofia is pushing Bonnie's wheelchair.)

BONNIE: Pretty soon I'll be able to wheel my own chair.

DANTE: That's great, but how will you reach the handles in the back?

SOFIA: She won't. She'll push the wheels on the chair, right, Bonnie?

BONNIE: Right. But my special doctor that I've been seeing since my accident says that it'll take practice.

SOFIA: Everything does.

(They reach a lamp post with the following flyer on it:  
All children between the ages of six and ten are invited to enter our first annual Children's Sculpture Contest. Sculptures  
must be done at our Art Center. We provide the clay.  
Contest ends Saturday, September 6th, 2003.  
Winners will be announced on Saturday, September 13th, 2003

DANTE: Are you going to enter, Bonnie?

BONNIE: If my parents say I can.  
FADE OUT

SCENE SIX

(The scene shifts to the interior of an airplane in flight. Jamie, Steven, and twelve-year-old Kirkland are on the plane. Kirkland is staring out the window.)

STEVEN: I hope Grandma's all right, Dad.

JAMIE: Me too.

STEVEN: It'll be good to get back to Bay City for awhile, even if it _is_ because Grandma was hurt, won't it, Kirkland?

(Kirkland shrugs, but doesn't answer.)

JAMIE: Kirkland, your brother asked you a question.

(Kirkland shrugs again.)

STEVEN: Come on, Kirkland, you haven't said a word to us since last night.

JAMIE: Steven's right. Look, we know you're upset, and we understand why, but this silent treatment has got to stop.

KIRKLAND: (folding his arms across his chest.) I've just got one thing  
to say.

JAMIE and STEVEN: What?

KIRKLAND: I don't talk to liars.  
FADE OUT

SCENE SEVEN

(The scene shifts to the offices of a tabloid newspaper. A man is talking on the phone.)

MAN: Hmmmm. That's very interesting. Who'da thunk it? (chuckles)(pause) You bet I'm gonna check it out. Thanks for the info.(hangs up, thinks)Damn right I'm gonna check it out. This could be just what THE SIZZLER needs to boost circulation.

SCENE EIGHT: CLOSING SCENE

(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are at their favorite table, waiting to be served. Jamie, Steven, and Kirkland walk in. They do not notice Grant and Cecile.)

JAMIE: I think you guys need a good meal before we go over to the  
hospital.

STEVEN: We sure could.

(They pass Grant and Cecile's table without noticing them; Grant turns around.)

GRANT: Kirkland!

JAMIE: (coldly)Hello, Grant.

KIRKLAND: Hi, Da, uh Gra... you know, I'm not sure what I  
should call you.

GRANT: Why not "Dad" or "Father"?

KIRKLAND: (bitterly) Some father. You let me think you were dead!

GRANT: I know, but

KIRKLAND: And then, even after Mom died, you didn't let me know you were alive.

GRANT: Not at first, and that was unforgivable, absolutely unforgivable. But when I realized what I had lost, I

STEVEN: You what?

GRANT: Kirkland, please believe me. When I realized how much I had lost, I did everything I could to get in touch with you.  
FREEZE FRAME


	53. Episode 53

This episode begins where the previous  
one left off.

SCENE ONE

(The scene is THE JASMINE GARDEN. Grant and Cecile are at their favorite table, waiting to be served. Jamie, Steven, and Kirkland walk in. They do not notice Grant and Cecile.)

JAMIE: I think you guys need a good meal before we go over to the hospital.

STEVEN: We sure could.

(They pass Grant and Cecile's table without noticing them; Grant turns around.)

GRANT: Kirkland!

JAMIE: (coldly) Hello, Grant.

KIRKLAND: Hi, Da, uh Gra... you know, I'm not sure what I should call you.

GRANT: Why not "Daddy" or "Father"?

KIRKLAND: (bitterly) Some father. You let me think you were dead!

GRANT: I know, but

KIRKLAND: And then, even after Mom died, you didn't let me know you were alive.

GRANT: Not at first, and that was unforgivable, absolutely unforgivable. But when I realized what I had lost, I

STEVEN: You what?

GRANT: Kirkland, please believe me. When I realized how much I had lost, I did everything I could to get in touch with you.

KIRKLAND: Why should I believe you?

CECILE: Because it's true.

KIRKLAND: Who are you?

JAMIE: Cecile de Poulignac. (thinking) This is no time to correct his manners.

CECILE: And for awhile, I was Cecile Frame.

STEVEN: You mean?

JAMIE: Yes. Cecile and I were married, once upon a time.

GRANT: (thinking) I never knew that!

STEVEN: You never said anything about it.

KIRKLAND: Is there anything else you didn't tell me?

JAMIE: Like what, Kirkland?

KIRKLAND: Are Steven and I really brothers, or is _she_ his real mother?

JAMIE: I think we'd better eat someplace else.  
FADE OUT

SCENE TWO

THE NEXT DAY

(The scene shifts to a supermarket. Paulina is pushing a full cart to the checkout counters. She is confronted by the latest issue of THE SIZZLER, which has the following headline:  
POLICE CAPTAIN'S SISTER AN ONLINE PORN STAR!!!!  
and a photo of Sofia.)

PAULINA: (thinking)What the Hell is this?

(Takes copy of paper, opens it, gasps)Oh, my God!  
FADE OUT

SCENE THREE

AT THE SAME TIME

(The  
scene shifts to Joe's office at the 2-3. Joe is inside, glaring at a copy of THE SIZZLER.)

JOE: Believe me, Bambina, I'm going to find out who did this to you, and I swear to God, they're going to pay.  
FADE OUT

SCENE FOUR

SEVERAL HOURS LATER

(The scene shifts to The Harbor Club. Grant and Cecile are at a table, facing each other.)

CECILE: This place is lovely.

GRANT: Yes. I used to own it.

CECILE: Is that why you wanted to take me here? Nostalgia?

GRANT: No, not at all. I wanted to come here because it is more elegant than The Jasmine Garden, and I felt that we needed an elegant setting.

CECILE: An elegant setting? Why?

GRANT: Yes, because I have a question, a very important question, to ask you.

CECILE: (thinking)I have a feeling I know what it is.  
Yes, Grant? What do you want to ask me?

GRANT: Cecile, will you marry me?

CECILE: (thinking)I knew it. Will I what?

GRANT: Will you marry me? After all, we've been seeing each other for quite some time now, and we're certainly compatible.

CECILE: (calmly) No.

GRANT: No?

CECILE: No, I will not marry you. Face it, Grant, the only reason you are even considering marriage is that you plan to fight Jamie for custody of Kirkland, and you feel that you'd have a better chance of winning if you were married.  
FADE OUT 

SCENE FIVE

The scene shifts to the living room of the Carlino home. Joe and Sofia are on the sofa. There is a copy of THE SIZZLER on the coffee table.)

JOE: Don't worry, Sof. Nobody who really knows you will ever believe that you posed for those pictures.

SOFIA: But

JOE: But it's your face on those photos? So what? So some creep put your face with someone else's body. And believe me, I'm going to find out who it was, and

SOFIA: Joey, I have to tell you something.  
FADE OUT

SCENE SIX

(The scene shifts to Cindy's home. Cindy is talking on the phone)

CINDY: Isn't this rather sudden?(pause)Well, that's true; we have had some good times lately, but what about (Pause) You really broke it off? (Pause) Yes (pause) You heard me. Yes, Grant, I will marry you again.  
FADE OUT

SCENE SEVEN

(The scene shifts to the Lucky Lady. Etta Mae and Toni are at a table, drinking coffee and talking.)

ETTA MAE: Joe has to be livid about those photos.

TONI: That's an understatement. Whoever tipped off THE SIZZLER has replaced Grant as Joe's most-hated person.

ETTA MAE: Are you sure it _wasn't_ Grant?

TONI: I don't think Grant even knew about that website, because if he did, he would have used the information to blackmail Joe.  
FADE OUT

SCENE EIGHT: CLOSING SCENE

The scene shifts to the living room of the Carlino home. Joe and Sofia are on the sofa.)

JOE: Sofia, why didn't you tell me about this Brad creep?

SOFIA: I couldn't.

JOE: Why not? I would've put a stop to him.

SOFIA: (unthinkingly) That's what Josie said.

JOE: (surprised) _Josie_ knew about it?

SOFIA: Yes, but I begged her not to say anything.

JOE: You know, I've been so upset, I never really read that article. (Picks up SIZZLER, opens, reads.) Oh, no!

SOFIA: What's wrong?

JOE: It's worse than we thought. They printed the URL for that website.

SOFIA: (bitterly) Well, if I wasn't an online porn star before, I will be now.

JOE: Don't worry, Bambina. Somehow, we're going to fix this. (Continues reading.) This information was given to us by... continued on page thirty-six (flips pages, gasps) Detective First Class Josie Sinclair.  
  
FREEZE FRAME


	54. Episode 54

This episode begins approximately half an hour after the previous one ended/

SCENE ONE

(The scene is Joe's office at  
the 2-3. Joe and Josie are inside, looking at an open copy of THE SIZZLER)

JOSIE: I didn't do it, Joe. You've got to believe me.

JOE: Josie, look me in the eyes.

JOSIE: Yes, sir.

JOE: Now, Josie, how could you?

JOSIE: But I didn't!

JOE: How could you think, for even a minute, that I would ever believe you'd do something like this?

JOSIE: But I did something terrible not very long ago.

JOE: Right. And the reason you did _that_ is the same reason you couldn't have done _this_.

JOSIE: Thanks, Joe.

JOE: Obviously, somebody was out to hurt my family, and get you into trouble at the same time. Well, I've got a surprise for whoever it was.

JOSIE: What?

JOE: It didn't work. In fact  
FADE OUT

SCENE TWO

(The scene shifts to the chambers of Judge Wilbur O'Malley. Grant and Cindy are facing the judge.)

JUDGE O'MALLEY: I now pronounce you husband and wife. You may kiss the bride.

(Grant and Cindy kiss, and it cannot be denied that they enjoy it.)  
FADE OUT

SCENE THREE

(The scene shifts to Rachel's room at BCUH. Amanda and Jamie are talking in low voices. Monitor beeps steadily.)

JAMIE: So Cory and Elizabeth don't know that Mom's been hurt?

AMANDA: Carl doesn't want them told.

JAMIE: Well, I think he's making a mistake.

AMANDA: So do I, but since he's their father, we have to respect his wishes.

JAMIE: Let's just hope it doesn't backfire. I should have told Kirkland as soon as I found out that Grant was alive.

AMANDA: Was he very upset when he learned the truth?

JAMIE: He's hardly spoken to me since then. And to make things worse, we ran into Grant and Cecile at The Jasmine Garden, and Cecile mentioned that

AMANDA: That you and she were married, once upon a time. Somehow, I can't see you and Cecile as a couple.

JAMIE: Well, there was a time when, if anyone had told me that someday Mom would be married to Carl Hutchins, I would have said, "And you are smoking???"  
FADE OUT

SCENE FOUR

(The scene shifts to show a split screen. On left, we see Grant; on the right, Judge Wilbur O'Malley. They are talking on the phone.)

GRANT: I just wanted to thank you again, Wilbur, for cutting through all that red tape.

JUDGE O'MALLEY: Well, after all, if red tape can't be cut for the Mayor...

GRANT: And now that I'm respectably married, I have a much better chance when I sue Jamie Frame for custody of my son.JUDGE O'MALLEY: (surprised) Is _that_ why you re-married your ex-wife?

GRANT: (chuckles) Well, just between you and me, I didn't need to marry her again to, shall we say, consummate.

JUDGE O'MALLEY: I wish you had told me all this before.

GRANT: Why?

JUDGE O'MALLEY: Because you didn't have to get married to get custody of your son. I would have awarded it to you simply on the grounds that you are his only surviving parent.

GRANT: Are you telling me that I married Cynthia again for nothing?

JUDGE O'MALLEY: I'm afraid so. Of course, I'd be more than glad to annul your marriage.

GRANT: The sooner, the better.

(Screen splits again, and we see Cindy listening in on an extension phone.)

CINDY: (thinking) We'll see about that. You're not going to use me and get away with it.  
FADE OUT

SCENE FIVE

ONE HOUR LATER

(The scene shifts to CARLINO'S. Jamie, Steven and Kirkland are seated at a table, eating.)

KIRKLAND: I want the truth, and I want it now.

JAMIE: Let's get something straight right now. You have a right to be angry, and you have a right to ask questions, but you will ask those questions in a respectful manner.

KIRKLAND: All right. _Did_ my father try to get in touch with me?

JAMIE: Yes.

KIRKLAND: Why didn't you tell me?

STEVEN: We wanted to protect you.

KIRKLAND: I'm not a little kid. I had a right to know my father wasn't really dead.

STEVEN: (under his breath) Too bad he isn't.

JAMIE: Never mind, Steven.

STEVEN: Sorry, Dad.

JAMIE: Listen, Kirkland, there are some things you don't know about your father.

KIRKLAND: What kind of things?

STEVEN: Bad things.

JAMIE: Let me handle this, all right? Kirkland, your father did some very bad things.

KIRKLAND: So? Doesn't everybody do something wrong once in a while?

STEVEN: Sure, but there's a difference between doing something wrong and committing crimes.

KIRKLAND: What sort of crimes?

(Jamie signals Steven to be quiet; Steven ignores him.)

STEVEN: Well, for one, murder. He killed his own brother.  
FADE OUT

SCENE SIX: CLOSING SCENE

(The scene shifts to Joe's office at the 2-3. Joe is inside, alone. Phone rings. Joe picks it up.)

JOE: Carlino. (Pause) Who is this? (pause) (thinks)Probably some reporter.No, my sister absolutely did not pose for those pictures. (pause) Oh, come on. It's not that hard to doctor pictures. (pause) Yes, I saw the article. (pause) What did I think? I thought it was garbage. (pause) Josie Sinclair? Just for the record, I do not for one minute believe that she contacted THE SIZZLER. (pause) No, not only is she not fired, she's been reinstated. (Pause) That's right. She is no longer a Cadet. She's a Detective First Class once more.

(Fade out briefly, and then fade in to reveal a phone booth. Door opens, and Peggy Walters walks out.)

PEGGY: Damn it!  
FREEZE FRAME


	55. Episode 55

This episode begins several hours after the previous one ended. It is now nighttime.

SCENE ONE:

(The scene is Josie and Gary's bedroom. Josie and Gary are in bed, talking.)

JOSIE: You know, when Joe told me I was a detective again, I didn't want to accept it.

GARY: (surprised) Why not? You hated being demoted.

JOSIE: I know, but I didn't think I'd earned my badge back. I mean, I still had some assignments I hadn't finished.

GARY: You mean those essays Joe wanted you to write?

JOSIE: Yeah.

GARY: Well, I've gotta tell you, I didn't think much of Joe making you write compositions like a schoolgirl.

JOSIE: Oh, I didn't mind very much. It was better than being fired, or suspended, and sitting at home twiddling my thumbs.

GARY: Did Joe give you _all_ your privileges back?

JOSIE: Yep. I'm even allowed to use the recreational computer again, so we're re-starting the Pinball Tournament.  
FADE OUT

SCENE TWO: (The scene shifts to Joe and Paulina's bedroom. Joe and Paulina are in bed, talking.)

PAULINA: So you reinstated Josie because she tried to help Sofia?

JOE: That may have had something to do with it, but basically, it was to show everyone that I knew she wasn't the one who tipped off THE SIZZLER about that website.

PAULINA: Do you have any idea who did?

JOE: No, but I intend to find out. Meanwhile, as far as anybody knows, the only part of Sofia in those filthy pictures is her face.

PAULINA: But

JOE: I know, Blue Eyes, I know. And I hate lying, but I swear to God, I'll lie up and down to protect my sister.

PAULINA: I'm not sure how to say this.

JOE: Blue Eyes, you can say anything to me.

PAULINA: Don't you think that Sofia is at least partly to blame for this?

JOE: That's what I've been trying _not_ to think. But, yeah, I think she could have handled things a lot better.

PAULINA: Exactly. She could have let you know she was broke.

JOE: But she didn't. She let that Brad bastard take those pictures instead. I'm just glad

PAULINA: What are you glad about?

JOE: I just thank God there's no way Pop can find out about this.  
FADE OUT

SCENE THREE

THE NEXT MORNING  
(The scene shifts to the squad room at the 2-3. Josie, Toni, and Adams are standing near the coffeepot, drinking coffee and talking.)

ADAMS: Congratulations on being reinstated.

JOSIE: Thanks. I'm just glad Joe didn't think I was the one who tipped off THE SIZZLER.

TONI: There's no way he could think you'd do something like that.

JOSIE: Why not, with my track record? I mean, I haven't exactly been an angel. Don't forget, I _did_ start an online rumor about the Commish.

TONI: But that was because you thought he was going after Joe.

(Edith walks over)

EDITH: Well, I see somebody's been reinstated. I still think Joe should have fired you.

ADAMS: Are you still mad at Josie?

EDITH: Why wouldn't I be? Joe resigned because of what she did, remember? And, to make things worse, he named Josie as the new captain, and she accepted it. And then _she_ had the nerve to suspend me.

TONI: Yeah, I heard about that. Joe would have done the same thing, and you know it.

ADAMS: I thought you'd gotten over it.

EDITH: You thought wrong.

JOSIE: Look, I made some mistakes, some serious mistakes, but I paid for them.

EDITH: But right now, you're probably getting away with murder.

JOSIE: What's that supposed to mean?

(Joe approaches, unnoticed)

EDITH: How do we know you _didn't_ tip off THE SIZZLER about Sofia?

JOE: (sternly) That's enough, Edith!

EDITH: (sullenly) Sorry. (Thinking) Like Hell, I'm sorry. I'm not sorry about anything.  
FADE OUT

SCENE FOUR

SEVERAL HOURS LATER(The scene shifts to Rachel's room at BCUH. Carl and Amanda are inside, speaking in very low voices. Monitor beeps.)

AMANDA: I wish she'd wake up.

CARL: So do I. Dear God, so do I. Amanda, you have a fool for a stepfather.

AMANDA: Oh?

CARL: Yes. Did you know I gave your mother an ultimatum?

AMANDA: You gave Mom an ultimatum... and lived?

CARL: And now I wish I could take it back.

AMANDA: Just what did you say to her?

CARL: I demanded

AMANDA: You _demanded_?

CARL I told Rachel to either forgive me, or divorce me.

AMANDA: Why?

CARL: Because even though we were living as strangers in the same house, she hadn't made a move towards ending our marriage.

AMANDA: And you wanted to push her into divorcing you?

CARL: I wanted to push her into forgiving me.  
FADE OUT

SCENE FIVE

(The scene shifts to the squad room at the 2-3. Joe is talking with Adams. We do not hear what they are saying. Tito walks in and approaches Joe.)

TITO: Joe, I need to talk to you.

JOE: This isn't a good time, Tito.

TITO: If you'll just listen for one minute

JOE: (sighs) All right. One minute.

ADAMS: Listen, Joe, I'm going to take care of that thing we were talking about.

JOE: Thanks, Adams.  
(Adams walks away. Joe looks at Tito.) All right, Tito, what's so important?

TITO: It's about that article about that website with Aunt Sofia's pictures

JOE: Let's get one thing straight right now. It's only Sofia's face in those disgusting pictures, not the rest of her. You got that?

TITO: Got it. Look, I think I know who tipped off THE SIZZLER.

JOE: (suspiciously) Oh, yeah? Who?

TITO: The other day, I overheard Grant talking with Chip Rayburn. It seems Chip had come across that website, and he just couldn't wait to tell Grant all about it.

JOE: (astonished) Wait a minute. Is _that_ what you were trying to tell me the other day? (Tito nods.) Oh, God, if I'd just listened to you. But no, I couldn't get past your track record.

TITO: That's one reason I tried to warn you. I thought I could start to make up for some of the things I did.

JOE: Looks like there's good in you after all.

TITO: Well, there should be. I mean, I _am_ your son, even though I never had the chance to really _be_ your son.

FLASHBACK

(The scene dissolves, briefly, to the rectory. Joe is talking with Fr. Malone.)

FR. MALONE: Joe, I'm going to ask you a question. Suppose the very first thing you'd learned about Tito had been that he is your son. What would you have done then?

JOE: I would have wished I'd had a chance to be a real fath (Chokes, can't continue.)

FR.MALONE: (softly) You _would_ have wished, or you _wish_?

RETURN TO THE PRESENT

TITO: Joe, what's wrong? You were a million miles away.

JOE: Actually, I was doing some long overdue thinking. Look, Tito, ever since Dante found out that you're his brother, he's been asking when you're going to come to the house. So, suppose you come over for supper tonight.

TITO: Are you sure?

JOE: I'm sure. I mean, maybe it's time I got to know you as you are now.

TITO: And maybe (breaks off)

JOE: Maybe what?

TITO: Nothing. (thinking) Maybe someday I'll be able to call you "Dad".

SCENE SIX: CLOSING SCENE

ONE HOUR LATER

(The scene shifts to Rachel's room at BCUH. Carl and Paulina are inside with Rachel. Carl is sitting on a chair next to Rachel's bed, holding her hand. Monitor beeps steadily.)

CARL: Rachel, please wake up. I need you. The children need you. We all

PAULINA: (walking over to bed) We all need you, Rach- Mom.

(Rachel stirs, and then her eyes open)

CARL: Rachel! You're back!

RACHEL: (groggily) Carl? Paulina? What am I doing here?

PAULINA: (gently) You were hurt, and you've been unconscious for a while.

RACHEL: How long was I out? Carl, please tell me I didn't miss our wedding day.

FREEZE FRAME


	56. Episode 56

**Notes for the Chapter:**

> The form of amnesia Rachel has can best be described as _dramatic_ amnesia.  
> It is for plotline purposes only, and should by no means be interpreted as being medically accurate.  
> My only "experience" in the field is having seen so many amnesia stories in my years as a soap viewer.

This episode begins where the previous one left off.

SCENE ONE

The scene is Rachel's room at BCUH. Carl and Paulina are inside with Rachel. Carl is sitting on a chair next to Rachel's bed, holding her hand. Monitor beeps steadily.)

CARL: Rachel, please wake up. I need you. The children need you. We all

PAULINA: (walking over to bed) We all need you, Rach- Mom.

(Rachel stirs, and then her eyes open)

CARL: Rachel! You're back!

RACHEL: (groggily) Carl? Paulina? What am I doing here?

PAULINA: (gently) You were hurt, and you've been unconscious for a while.

RACHEL: How long was I out? Carl, please tell me I didn't miss our wedding day.

(Carl and Paulina look at each other.)

CARL: You don't remember?

RACHEL: It's all very hazy.

PAULINA: I'm going to get the doctor. (Very low, to Carl) Be careful.

CARL: (equally low) I will, but this may very well be my chance to  
FADE OUT

SCENE TWO

(The scene shifts to the duck pond at Foster Park. Rita Bennet is sitting on the bench. Bonnie (in her wheelchair) and Dante are tossing bread crumbs to the ducks.)

DANTE: How's your clay model for the contest coming?

BONNIE: It's almost finished. Know what the hardest part was?

DANTE: What?

BONNIE: Deciding what to make. I mean, I didn't want to make a dog, or a cat.

DANTE: But your dogs and cats are real good.

BONNIE: But I've already made so many of them, and I wanted to do something _different_ for the contest.

DANTE: What are you making?

BONNIE: A banana with a monkey sitting on it. (thoughtfully) You know something?

DANTE: What?

BONNIE: Sometimes, when I'm making something out of clay, I forget that I'm in this wheelchair.  
FADE OUT

SCENE THREE  
THIRTY MINUTES LATER  
(The scene shifts to Joe's office at the 2-3. Joe is on the phone.)

JOE: So the doctors say she'll be all right? (pause)  
Thank God. (pause) She really doesn't remember? (pause) So Carl is going to act like this whole Lydia thing never happened? (pause) You're right. It wouldn't have been a good idea to spring that on her so fast. (pause) Listen,  
Blue Eyes, we're having company for dinner (pause) Well, yeah, Derek, but I also invited someone else. (pause) Tito. (pause)Well, we _have_ talked about it, on and off. (pause) I know. Look, Blue Eyes, I'm starting to think he's changed. (pause) Well. that's one thing I wasn't worried about that. You always make plenty. (pause)I can't wait to see the look on Dante's face.

SCENE FOUR

(The scene shifts to CARLINO'S. Carl and Jamie are at a table, talking.)

CARL: Paulina told me to be careful, and, of course, I don't want to do anything to hamper Rachel's recovery.

JAMIE: Just how much does she seem to remember?

CARL: She asked if she'd missed our wedding day.

JAMIE: And what did you tell her?

CARL: I didn't tell her anything. Paulina went to get the doctor. Of course, now that _you're_ here

JAMIE: I'm here as Mom's son, not as her doctor.

CARL: Of course.

JAMIE: But, speaking as a doctor, Carl, I have to advise you to let Mom remember things on her own. Don't spring anything on her.

(Grant walks in, approaches table.)

GRANT: Ah, Jamie, just the man I want to see.

CARL: (coldly) You are not welcome here, Grant. Or, to use the Latin expression, you are _persona non grata_.

GRANT: (ignoring Carl) I just came to inform you, Jamie

JAMIE: Let's get this straight, _Mayor_ Harrison. You and I are _not_ on a first-name basis.

GRANT: Very well, _Doctor_ Frame. I just came in to tell you that I have filed for full custody of Kirkland.  
FADE OUT

SCENE FIVE: CLOSING SCENE  
ONE HOUR LATER

(The scene shifts to the exterior of the Carlino home. Joe and Tito are coming up the walk.)

TITO: Are you sure this is all right with Paulina? I mean, you _did_ invite me without checking with her first.

JOE: Don't worry about it. She agrees that it's time we all got to know you as you are now. 

TITO: Do you really think I've changed?

JOE: I don't know. What I do know is, you tried to warn Sofia, and that is at least a step in the right direction.

(Remy comes into view, gasps. Joe and Tito stop, and turn around. Remy walks up to them.)

REMY: What the Hell is going on here?

TITO: I'm having dinner with you tonight.

REMY: On what planet?

JOE: It's true. I invited him.

REMY: What? Are you out of your mind?

JOE: Now, just a minute!

REMY: Sorry, Dad. It's just that

(Door opens, Dante steps out. Nobody notices.)

JOE: I know. But Tito's been trying to make up for what he did in the past.

REMY: Like pretending _you_ were the baby Mom gave away? Like almost letting Mom go to prison? Like almost keeping me from finding my family?

(A horrified Dante runs into the house. Door slams.)  
FREEZE FRAME


	57. Episode 57

This episode begins approximately  
20 minutes after the previous one ended.

SCENE ONE

(The scene is the dining room of the Carlino home. Joe, Paulina, Sofia, Derek, Tito, Dante, and Ryan Gabriel are seated around the table. Remy is absent.)

RYAN GABRIEL: (innocently) Where's Remy?

JOE: She had something to do.

DEREK: Well, she's missing a great meal.

JOE: Don't worry We put some aside for her.

(Dante is picking at his food.)

PAULINA: (whispers) Dante, why aren't you eating?

DANTE: (normal voice) I'm not hungry.

TITO: What's wrong, little brother?

DANTE: Don't call me your brother! I'm not your brother! And I don't want to eat with you! (Jumps up, runs out of dining room)

SOFIA: What was _that_ all about?

PAULINA: I have no idea.

JOE: I think I know what's going on. (thinking) Please, God, don't let it be what I think it is. I'll go talk to him.  
Fade out

SCENE TWO  
(The scene shifts to THE JASMINE GARDEN. Cecile is at a table, alone. She is looking, without much interest, at a plate of spareribs. Grant walks up to her.)

GRANT: Hello, Cecile.

CECILE: (coldly, enunciating each word separately and slowly) Do not speak to me.

GRANT: You seem a bit perturbed at me.

CECILE: Perturbed? Try damn mad!

GRANT: But why?

CECILE: Because you asked me to marry you, and then, when I said no, you turned right around and married Cindy.

GRANT: May I sit down?

CECILE: You may as well. (Grant sits)

GRANT: Yes, I married Cynthia... again.

CECILE: By the way, where _is_ your wife?

GRANT: She's out of town for a few days.

CECILE: So soon after your marriage?

GRANT: I only remarried her in order to get custody of Kirkland. But, as it turns out, that was an unnecessary move on my part.

CECILE: Oh?

GRANT: Yes. Of course, there will have to be a custody hearing, but the judge who will be presiding is a very good friend.  
FADE OUT

SCENE THREE

(The scene shifts to Dante and Ryan Gabriel's bedroom. Joe and Dante are sitting on Dante's bed. Joe has his arm around Dante.)

JOE: (concerned) What's wrong, Dante?

DANTE: I heard what Remy said.

JOE: When?

DANTE: When you and she and Tito were outside. Is it true, Daddy? Did Tito do all those bad things?

JOE: Son, I hoped you would never find out, but, since you heard what Remy said, I'm not going to lie to you.

DANTE: Then it's true.

JOE: Yes, I'm afraid it is.

DANTE: And is it true that Mommy gave Remy away when she born? (Joe doesn't answer.) Daddy, is it true?

JOE: Listen, Dante, that was a long time ago. You know how much your Mom and I love you, and Remy, and Ryan Gabriel, and Angela Rose, don't you?

DANTE: Uh huh. But why did Mommy give Remy away?

JOE: Because, at the time, she thought it was the best thing she _could_ do for her. (thinking) Please, God, don't let Dante learn the whole story. Please don't let him find out that Paulina _sold_ her baby. You see, mothers try to do what's best for their kids, no matter how hard it is.  
FADE OUT

SCENE FOUR

(The scene shifts to Rachel's room at BCUH. Carl is inside, sitting on a chair beside Rachel's bed.)

RACHEL: Carl, I asked you a question earlier. Did I sleep through our wedding day?

CARL: (thinks) This could be my one chance to rectify the biggest mistake of my life.

RACHEL: Carl, I'm waiting for an answer.

CARL: Rachel, you were mugged, and you've been unconscious for days.

RACHEL: Days? Then... I missed our wedding day?

CARL: No, not missed. Let's call it postponed. And as soon as you are recovered, we'll have the most splendid wedding Bay City... no, the most splendid wedding the state of Illinois has ever seen.

RACHEL: No, Carl.

CARL: No?

RACHEL: No. I do not want to marry you when I recover.  
FADE OUT

SCENE FIVE

(The scene shifts to THE JASMINE GARDEN. Grant and Cecile are talking in low voices.)

GRANT: So, you see, it was merely a marriage of convenience, a marriage in name only.

CECILE: And once you gain custody of Kirkland?

GRANT: My so-called marriage will be over. In the meantime, as I said before, Cynthia is out of town... so...

CECILE: So?

GRANT: Exactly.

CECILE: But you're sure she won't be back for a few days?

GRANT: Yes.

CECILE: Perfect.

(Grant and Cecile smile at each other.)  
FADE OUT

SCENE SIX: CLOSING SCENE

(The scene shifts to Rachel's room at BCUH. Carl is on the same chair beside Rachel's bed.)

CARL: Rachel, love, what are you saying?

RACHEL: You heard me. I don't want to get married after I recover.

CARL: But why?

RACHEL: Oh, Carl, don't you know?

CARL: No, dearest. I don't know. I don't understand.

RACHEL: I don't want to be married after I recover.

CARL: But, Rachel

RACHEL: Will you let me finish? I'm trying to tell you, I don't want to get married after I recover. I want to get married _now_.

FREEZE FRAME


	58. Episode 58

This episode begins where the previous one left off.

SCENE ONE

(The scene is Rachel's room at BCUH. Carl is sitting on a chair by Rachel's bed.)

CARL: What did you say, Love?

RACHEL: I said I want to get married _today_.

CARL: But, Rachel, we can't just

RACHEL: Why not? We're in love, aren't we?

CARL: Yes, we are very much in love.

RACHEL: And it's past the time when we should have been married.

CARL: Well, yes.

RACHEL: And it's not as if we were a couple of teenagers getting married on an impulse.

CARL: No, we certainly are not, although I'm intrigued at the thought of the two of us as a teenaged couple.

RACHEL: Don't change the subject, Carl. Now, I want to know why we can't get married today.

CARL: Because it is too late.

RACHEL: What do you mean, it's too late? Is there something I need to know, some reason why we shouldn't marry?  
FADE OUT

SCENE TWO

(The scene shifts to Peggy Walters' bedroom. Peggy is sprawled on the bed, talking on her cell phone.)

PEGGY: Well, _that_ plan didn't work. (Pause) No, it seems to have blown over already. (Pause) Yes, I still want to get even with her. (Pause) You're right. We're not out to get his sister. (Pause) Well, maybe we can find something about _her_ (Pause)You're right. It _would_ be poetic justice, after what she tried to do to my father. And then she accused me of (Pause) That's right. (Pause) No, I don't want to ruin her career. I want to ruin her life.  
FADE OUT

SCENE THREE

(The scene shifts to the dining room in the Carlino home. Joe and Dante haven't returned. Everyone else is still at the table. There is an uncomfortable silence.)

TITO: Maybe I should go talk to Dante.

DEREK: I don't think that's such a good idea.

PAULINA: Derek's right, Tito. Right now, you're probably the _last_ person Dante wants to talk to.

TITO: But why? Why is he mad at me, all of a sudden? I mean, he was so thrilled to

SOFIA: Maybe he found out about some of the things you did.

TITO: But how?

REMY'S VOICE: Like pretending _you_ were the baby Mom gave away? Like almost letting Mom go to prison? Like almost keeping me from finding my family?

TITO: Wait a minute! I think he _did_ find out, and I think I know how.

RYAN GABRIEL: Did you do bad things?

TITO: Yes, I did some bad things, but I'm trying to be a better person. (thinking) And some day, I swear, I'll be a big brother you and Dante and Angela Rose can look up to, and I'll be a son Joe can be proud of.  
FADE OUT

SCENE FOUR

(The scene shifts to Rachel's room at BCUH. Carl is standing near Rachel's bed.)

RACHEL: Answer me, Carl. What do you mean, "it's too late"? Is there a reason why we shouldn't get married?

CARL: (laughs, relieved) Not at all, Love. I only meant that it is too late in the day.

RACHEL: Oh. I hadn't thought about that.

CARL: But are you sure you want to be married here, in the hospital?

RACHEL: The sooner you and I are husband and wife, the better I'll feel.

CARL: Then I'll make all the arrangements, and by this time tomorrow, you and I should be a happily married couple.  
FADE OUT

SCENE FIVE

(The scene shifts to the duck pond at Foster Park. Remy is sitting on the bench, talking on her cell phone.)

REMY: I need to see you right away. (Pause) No, not at my place. (Pause)Well, right now it doesn't feel like home to me. (Pause) I'll tell you when I see you. I'm in Foster Park, near the duck pond. (Pause) Oh, and I'd like you to bring  
FADE OUT

SCENE SIX: CLOSING SCENE  
The next day  
(The scene shifts to Rachel's room at BCUH. Carl comes through the door.)

CARL: Hello, Love. I have wonderful news.

RACHEL: Carl

CARL: I've made the arrangements, and we can be married

RACHEL: Carl

CARL: Is something wrong?

RACHEL: I'm not sure. It's just that I had the strangest dreams all night.

CARL: Well, if you were dreaming about a honeymoon in this hospital

RACHEL: In my dreams, I kept hearing the same name over and over, and I don't know why. Carl, tell me something.

CARL: If I can.

RACHEL: I kept hearing the name "Lydia" in my mind. Do we know anyone by that name?  
FREEZE FRAME


	59. Episode 59

SCENE ONE

EARLY MORNING  
(The scene is The Lucky Lady. Cass, Lila, Felicia, Sergei and Derek are at a table together, drinking coffee and talking. We do not hear what they are saying. Etta May is refilling the coffeemaker. Radio is on.)

MALE RADIO ANNOUNCER: And now, this announcement. Mayor Grant Harrison will be the keynote speaker at

CASS: I am sick and tired of hearing that.

LILA: Hearing what?

CASS: Mayor Grant Harrison this, Mayor Grant Harrison that. I am fed up with hearing the words "Mayor Grant Harrison".

DEREK: From what I understand, he just came back here after everyone thought he was dead, and resumed his office?

FELICIA: (nodding her head) He stepped back in as though he'd never been gone.

DEREK: But why? And more to the point, how?

CASS: Because Grant is Grant.

(Etta May walks over to their table)

SERGEI: What, he was elected to be mayor for the rest of his life?

ETTA MAY: You're right, Sergei, it does seem that he's been the mayor of Bay City forever.

FELICIA: Somebody should really do something about that.

CASS: You're right. You are absolutely right.  
FADE OUT

SCENE TWO

(The scene shifts to Edith's house. Edith is on the phone.)

Look, I only have a few minutes. I've got to get to work. (Pause) No, (laughs) it definitely wouldn't be a good idea for me to call you from work. (Pause)Don't worry, I'll keep your name out of it. (Pause) Exactly. I'll e-mail you the pictures. (Pause) Right. And then you'll e-mail that back to me. (Pause) No, I'll handle posting them. (Pause) As many places as I can. (Pause) Well, I'm hoping this will work out better. (Pause) Listen, I'm the one who's taking the real risk. _You're_ safe in England, remember? (Pause) Yes, I'll bet they'd be surprised to find out you're my cousin.

FADE OUT

SCENE THREE

Two hours later  
(The scene shifts to Rachel's room at BCUH. Carl is standing near Rachel's bed.)

RACHEL: Carl, do we know anyone named Lydia?

CARL: Rachel, you've met so many people over the years, haven't you? You've been interviewed, you

RACHEL: It just seems strange that all of a sudden I kept hearing that name in my dreams.

CARL: Dreams can be very strange sometimes.

RACHEL: But I can't stop thinking that I should know who Lydia is.

CARL: (thinking) What do I do now? If I tell her the truth, who knows how much damage it could cause?

RACHEL: I just know she's important somehow. Why can't I remember?

CARL: Rachel, Love, let's not think about who this Lydia may or may not be. After all, this is our wedding day.

RACHEL: No, Carl. I'm sorry, but I just have a feeling that until I remember who Lydia is, I should not marry you.  
FADE OUT

SCENE FOUR

Ninety minutes later  
(The scene shifts to Joe's office at the 2-3. Joe and Josie are inside.)

JOSIE: You mean she didn't come home all night?

JOE: Her bed wasn't slept in.

JOSIE: And you have no idea where she is?

JOE: All I know is, she got upset when she found out I'd invited Tito over for supper.

JOSIE: I'm surprised you did. I mean (stops herself) No, I shouldn't say anything.

JOE: I don't blame you for being surprised. I was kind of surprised myself.

JOSIE: Well, Dante must have been thrilled.

JOE: No, things didn't quite work out that way.

JOSIE: What happened?

JOE: Dante overheard Remy telling Tito off for some of the stuff he did.  
(Josie whistles.)

JOSIE: That poor kid.

JOE: And as if that's not enough for a kid his age to handle, Remy has to pull this disappearing act.

JOSIE: Paulina must be frantic.

JOE: She's worried sick, and I'm not far from it myself.

JOSIE: So what are you going to do?

JOE: Well, I don't want to make it a police matter yet, but it isn't like Remy to take off without letting someone know where she's going.

JOSIE: Look, Joe, do you want me to drive around... not in a squad car, but in my own car... and see if I spot her?

JOE: Good thinking, Josie.  
FADE OUT

SCENE FIVE

(The scene shifts to CARLINO'S. Carl and Jamie are at a table, facing each other, drinking cappuccinos.)

JAMIE: So what did you tell her?

CARL: Fortunately, her doctor came in to the room, so I got a reprieve. But I need your advice, Jamie. Should I tell Rachel the truth, or is silence really golden in this case?

JAMIE: I don't know what to tell you. It seems to me that Mom has some form of amnesia, and that's outside of my area. But whatever you do, don't tell her everything at once.

CARL: In other words, I shouldn't overwhelm her.

JAMIE: Exactly.

CARL: How are Steven and Kirkland doing?

JAMIE: About as well as can be expected. You do know, don't you, that Grant is fighting for custody of Kirkland?

CARL: Yes, I know. How does Kirkland feel?

JAMIE: Confused, and angry.

CARL: I don't blame him. After all, Grant let him think

JAMIE: No, Carl. It wasn't Grant. He wrote to Kirkland, but I destroyed the letters. At the time, I thought it was the best thing to do.

CARL: How much does Kirkland know about Grant's crimes?

JAMIE: I don't know. We never talk about that.

CARL: That's wise. Let him broach the subject first. And I'm behind you all the way in your custody battle. This is one time Grant Harrison will not win.

(Paulina comes out of the kitchen, walks over to table.)

JAMIE: Any news about Remy?

PAULINA: No, and the more time that goes by

CARL: Paulina, it's been less than twenty-four hours. And don't forget, you're married to the police captain. I'm sure Joe is using every means at his disposal.

JAMIE: Exactly. And aren't Cameron and Gary also doing everything they can? Somebody is sure to find Remy safe and sound.

PAULINA: I'm sure they'll find her. I'm just afraid that she _isn't_ safe and sound.

CARL: Paulina, please don't assume the worst.

PAULINA: I can't help it. We lost so much time together, and I just can't stand the thought of losing her again.

JAMIE: Then don't think about that. Think about taking her in your arms _when_ she turns up.

PAULINA: You're right. Oh, I almost forgot. Felicia called. She said to be sure to watch the news at 7:30 tonight.

CARL: Did she say why?

PAULINA: No, only that it's something big.  
FADE OUT

SCENE SIX

7:33 P.M.  
(The scene shifts to Grant Harrison's living room. Grant is on the sofa, with the remote in his hand.)

GRANT: May as well catch the news. (Clicks remote; tv comes on. Cass is on the screen.)

CASS: And I say it is absurd that this man has run Bay City for so long.

GRANT: (thinks)I'll be the judge of that, since I'm obviously the one you are talking about.

CASS: It is much too long since the last mayoral election was held in Bay City.

GRANT: (thinking, smugly) But there is nothing you or anyone else can do about it.

CASS: As far as I know, Grant Harrison has not been elected mayor for life And therefore, I not only call for a new election to be held within ninety days, but I also announce my candidacy.  
FADE OUT

SCENE SEVEN: CLOSING SCENE

Two hours later  
(The scene shifts to the living room of the Carlino home. Joe, and Paulina are on the couch, sitting very close to each other.)

PAULINA: I thought we'd never get Dante and Ryan Gabriel settled down tonight.

JOE: Well, they're worried about Remy... Dante especially.

PAULINA: He wanted to stay up and wait for her to come home. Maybe  
we should have let him.

JOE: No, Blue Eyes. Kids need their sleep.

PAULINA: At least Angela Rose is too little to know what's going on.

(Key turns in lock; Remy and Nick come in. Joe and Paulina stand up and face them.)

REMY: Hi.

NICK: Hello. We

PAULINA: (relieved and angry, speaks each word slowly.) Where have you been?

REMY: I- _we_ had someplace to go.

JOE: Without telling anybody? You can't just take off like that, no matter how upset you are.

PAULINA: Do you realize that you've been gone for more than twenty-four hours?

REMY: Do _you_ realize that I'm not a kid any more?

JOE: You're right, Remy. You're not a kid. You are old enough to be considerate of others, and in this family, we let people know if we're not going to be home.

REMY: Spare me the lecture.

PAULINA: Now, just a minute! You have a lot of explaining to do.

JOE: All right, Remy. No lecture. I'll cut right to the chase. You're grounded until further notice. It's for your own good.

NICK: Now, hold on! You can't ground my wife!

FREEZE FRAME  



	60. Episode 60

>This episode begins the morning after the previous one ended.

SCENE ONE

(The scene is the dining room of the Carlino home. Joe, Paulina, Sofia, Dante, and Ryan Gabriel are seated around the table, eating waffles.)

RYAN GABRIEL: Remy's not here again.

DANTE: Didn't she come home last night?

PAULINA: Yes, she came home, but

SOFIA: Then where is she?

JOE: She...

SOFIA: What?

RYAN GABRIEL: I want Remy!

DANTE: Me, too.

PAULINA: There's something we have to tell you (Angela Rose is heard crying off-screen) But it'll have to wait. I'll be back.

DANTE: Daddy, what's going on?

JOE: Wait until your Mom gets back. This is something we need to tell you together.

DANTE: Is it about Remy?

JOE: Yes, and I can tell you this much... she's okay.

(Key turns in lock; door opens. We hear footsteps, and then Remy comes into the dining room.)

REMY: (trying to sound casual) Hi.

SOFIA/DANTE/RYAN GABRIEL: (all talking at once) Remy! You're home! What happened?

REMY: You didn't tell them?

JOE: Your mother and I were just about to tell them when Angela Rose started wailing.

REMY: Well, now that I'm here, why don't I tell them? (Joe shakes his head; Remy ignores him.) Last night, Nick and I (Joe signals her to stop. Remy continues to ignore him.) got married.  
FADE OUT

SCENE TWO

(The scene shifts to AL'S DINER in Oakdale. Grant, Deputy Mayor Chip Rayburn, Judge Wilbur O'Malley, and Police Commissioner Howard Walters are in a booth, having a breakfast meeting. Their food hasn't been served yet.)

GRANT: I felt that it was best if we didn't hold this meeting in Bay City.

WILBUR: Your office had no warning that Cass Winthrop was about to, shall we say, throw his hat into the ring?

CHIP: None. Until he made his announcement, there _wasn't_ any ring.

GRANT: And this isn't a good time for me to be working on a campaign. I have to concentrate on getting custody of Kirkland, and then ending my marriage.

WILBUR: Don't worry about getting custody. I told you it was in the bag. But you might want to hold off on ending your marriage until after the election.

HOWARD: He's right. Divorcing Cindy so soon wouldn't look very good.

WILBUR: As for the custody, I can take care of the details today.  
FADE OUT

SCENE THREE

(The scene shifts to the dining room of the Carlino home. Sofia, Dante, and Ryan Gabriel are staring at Remy.)

SOFIA: Married?

DANTE: But what about

(Paulina returns)

PAULINA: What's going on?

SOFIA: Remy just told us that she and Nick were married last night.

JOE: And after I told her not to. Unless (turns to Remy) you didn't understand my signals.

REMY: I understood them perfectly.

PAULINA: Then why

REMY: Because he doesn't have any right to tell me what to do

PAULINA: He's your Dad!

REMY: Not any more. Not after bringing Tito here without any warning.

JOE: You're right, Remy. I should have thought about how you might feel about that.

PAULINA: But, Remy, _you_ should have thought about how the rest of us would feel about missing your wedding.

JOE: I was really looking forward to walking you down the aisle someday. And I'm still more than ready to spring for a big wedding. That's what Dads do, you know.

REMY: But

JOE: But you and Nick are already married? So what? So you had a very plain ceremony, right?

REMY: Well, yes, but it was good enough for us.

JOE: Nothing's too good for my family, and I want you to have a fancy wedding with all the trimmings.

SOFIA: I think you should go for it, Remy.

PAULINA: So do I.

DANTE: Me, too, even if I have to wear a suit. There'll be a cake, won't there?

JOE: You bet there will. The biggest cake you ever saw in your life.

RYAN GABRIEL: Please, Remy. Please get married again. I want a cake wedding.  
FADE OUT

SCENE FIVE

(The scene shifts to the Winthrop home. Cass is on the phone)

CASS: You caught me just in time. I was just about to leave. (Pause) What? You're sure? (Pause) Oh, you bet I'll let him know. And thanks for the heads-up.  
FADE OUT

SCENE SIX

SEVERAL HOURS LATER

(The scene shifts to Rachel's room at BCUH. Carl is just walking into the room.)

RACHEL: I'm glad you're here, Carl. I've been waiting for you.

CARL: Well, _that's_ good to hear.

RACHEL: Don't be too sure of that.

CARL: Oh? Why not?

RACHEL: Last night, after you left, I remembered something else about this Lydia person.

CARL: What do you remember?

RACHEL: Her last name.

CARL: (carefully non-committal) Oh?

RACHEL: Yes. It's _Hutchins_. Now, exactly who is this Lydia Hutchins?

CARL: Well, she and I have been estranged for some time now, but (hesitates, looks at ceiling, sighs)

RACHEL: But who _is_ she?

CARL: (desperately) She's my sister.

FADE OUT

SCENE SEVEN

(The scene shifts to the chambers of Judge Wilbur O'Malley. Once again, Grant is inside with the judge.)

WILBUR: Everything is in order now, Grant. These papers give you full custody of your son.

GRANT: And I thank you very much. And as soon as I have Kirkland back, I can end my charade of a marriage.

WILBUR: Hold on. Don't forget what we discussed earlier today.

GRANT: Right. I should stay married until _after_ the election.

WILBUR: Exactly.

GRANT: Speaking of the election, does Cass Winthrop have any chance of

WILBUR: You leave Winthrop to me. He has a case coming up, and the judge who is to preside over that case owes me a favor.

GRANT: What sort of a favor?

WILBUR: Let's just say she will bring up something about Cass Winthrop before any testimony is offered.  
FADE OUT

SCENE EIGHT

(The scene shifts to Cass Winthrop's law office. Cass is on the phone.)

CASS: Donna? It's Cass. (Pause) Oh, I'm fine. And you? (Pause) Good. Listen, Donna, I've been trying to reach Jamie. (Pause) Yes, this is definitely urgent. It's about Kirkland. (Pause) The duck pond at Foster Park? (Screen splits, and we see Grant, who is also on the phone.)

GRANT: Foster Park? The duck pond?

CASS: I'm on my way.

GRANT: I'll be right there.  
FADE OUT

SCENE NINE

(The scene shifts to the living room of the Cory-Hutchins home. Carl is on the sofa, with Cory and Elizabeth on either side of him, reading Winnie-the Pooh out loud.)

CARL: I always love the part about "a wedged bear in great tightness," don't you?

CORY: Uh huh.

ELIZABETH: Daddy, when's Mommy coming home?

CARL: Well...

CORY: Yeah, Daddy, when?

ELIZABETH: And how come she hasn't called?

CORY: There's something bad going on, isn't there?

CARL: (thinking) I can't put it off any longer. Yes, something is wrong, but I promise you, everything will be all right.

ELIZABETH: Then where's Mommy?

CARL: She's right here, in Bay City... in the hospital. You see  
FADE OUT

SCENE TEN: CLOSING SCENE

(No dialogue)

(The scene shifts to the duck pond at Foster Park. Jamie, Steven, and Kirkland are on the bench. Bridget and Michelle are feeding the ducks. Camera angle widens, and we see Cass approaching from the right, while Grant approaches from the left. They reach the bench at the same time.)  
FREEZE FRAME


	61. Episode 61

SCENE ONE

(The scene is Edith's home. Edith is on the phone.)

EDITH: Yes, I talked to him. (Pause) Don't worry. He's an expert. (Pause) No, nobody will be able to tell the difference. (Pause) Believe me, I'm not worrying about the phone bill. (Pause) No, that shouldn't be a problem. (Pause) I'm sure. They'll never be able to trace it to us. (Pause) No, he'll take care of that end of it. What _we_ have to do is  
FADE OUT

SCENE TWO

(The scene shifts to the duck pond at Foster Park. Jamie, Steven, and Kirkland are on the bench. Bridget and Michelle are feeding the ducks. Camera angle widens, and we see Cass approaching from the right, while Grant approaches from the left. They reach the bench at the same time.)

JAMIE: What are you doing here, Grant?

GRANT: I came to get my son.

JAMIE: You can't just take him without a custody hearing.

KIRKLAND: Do I have to go... right away?

CASS: No, Kirkland, you don't.

GRANT: Now, just a minute, Cass. This doesn't concern you.

CASS: I beg to differ. As Jamie's attorney, I must insist on seeing those papers.

GRANT: You are Jamie's attorney, and you are challenging my position as mayor at the same time? Isn't that a conflict of interest?

CASS: I don't see how. After all, neither you nor I have started campaigning yet. Now, hand over those papers.

GRANT: Very well. (Hands documents to Cass.)

CASS: I'm going to need some time to go over these papers and make sure they're in order. Until then, there is no way you are taking custody of Kirkland.

GRANT: (Complacently) Well, a few moments more won't make much of a difference.

CASS: (scoffs) A few _moments_? I intend to go over these documents with a fine-tooth comb.

JAMIE: And until Cass tells me that these papers are legit, Kirkland stays with me.

GRANT: (annoyed) Very well. Just don't try anything funny.  
FADE OUT

SCENE THREE

(The scene shifts to Rachel's room at BCUH. Matthew and Amanda are inside with Rachel.

AMANDA: So how are you feeling now?

RACHEL: Confused.

MATTHEW: How come?

RACHEL: I keep remembering someone's name, just her name, and nothing else.

MATTHEW: What name are you remembering?

RACHEL: Lydia Hutchins.

(Matthew and Amanda exchange looks.)

AMANDA: Lydia _Hutchins_?

RACHEL: Yes. Carl _says_ she's his sister, but...

MATTHEW: But you're not sure you believe him?

RACHEL: When I first mentioned her name to him, he was very evasive.  
FADE OUT

SCENE FOUR

(The scene shifts to a bench in Foster Park. Nick and Remy are sitting together, talking.)

NICK: So your folks aren't upset any more?

(Camera angle widens to show Tito approaching.)

REMY: They want us to get married again. Dad wants me to have a wedding with all the trimmings, and then some.

NICK: Well, that's what we planned to have all along.

REMY: I know, but (sighs)

NICK: Are you sorry

(Tito stops at the bench.)

TITO: Remy, could I talk to you?

REMY: I have nothing to say to you.

TITO: Just give me a few minutes.

REMY: Not even a second.

NICK: You heard my wife. Now get lost.

TITO: Wait a minute. Did you just call Remy your wife?

NICK: Goodbye, Tito.

TITO: All right, all right. (Walks away towards the left, calls over shoulder) By the way, congratulations.

REMY: (turns to Nick, furious) Why did you have to tell him we're married?

NICK: I didn't think it was such a big deal.

REMY: Our marriage isn't a big deal?

NICK: Come on, you know that's not what I meant. I meant telling Tito wasn't a big deal.

REMY: It was to me.

NICK: But why?

REMY: Figure it out. (Gets up, walks away towards the right.)

NICK: (to himself) What the Hell just happened?  
FADE OUT

SCENE FIVE: CLOSING SCENE

(The scene shifts to Rachel's room at BCUH. Rachel is alone now. She is listening to the radio.)

MALE REPORTER'S VOICE: And in other news, a woman identified as Lydia Hutchins was killed today

RACHEL: What?!

MALE REPORTER: When the car she was driving was struck by a drunk driver. Many of you will remember that Ms. Hutchins was involved in the shocking events that took place at the opening of Rachel Cory's exhibition at The Tripodi Gallery.

(Flashback to The Tripodi Gallery on the night of the opening. We see Rachel and Lydia facing each other)

LYDIA: I have nothing to lose, now that Carl is dead.

RACHEL: And what did you have to gain while he was alive? He would never have gone back to you.

LYDIA: (mockingly) Really? Do you honestly believe that that time you caught us at The Rosenthal Hotel was the last time your husband and I were together?

RACHEL: My husband?

LYDIA: Yes. Carl and I _were_ legally divorced. I was fighting to get him back.

RACHEL: If I had the chance to do it all over again, I would fight tooth and nail to keep you away from him.

(Carl walks up.)

CARL: Do you really mean that, my love?

(The scene returns to the present. Rachel turns off the radio. The scene dissolves briefly. We now see the corridor of BCUH. Carl is walking towards Rachel's room.)  
FREEZE FRAME


	62. Episode 62

SCENE ONE

(The scene is Cass Winthrop's law office. Cass is inside with Jamie.)

JAMIE: I got here as soon as I could.

CASS: I know. Jamie, we need to talk about these papers.

JAMIE: What's wrong with them?

CASS (sighs) Absolutely nothing. That's the problem. I went over these papers with a fine-tooth comb, and everything is in order.

JAMIE: So you're telling me that I have to hand Kirkland over to Grant Harrison?

CASS: No. We're going to appeal this. And I just happen to know a judge who isn't buddy-buddy with His Honor.

JAMIE: His soon-to-be _ex_ -Honor, I hope. Too bad I'm no longer a resident of Bay City, because you'd definitely have _my_ vote.

CASS: Thanks, Jamie, but I'll let you in on a secret. I'm not all that anxious to be the next mayor of Bay City.

JAMIE: You're not?

CASS: No. I love my law practice too much. I just want to get Grant Harrison out of City Hall.  
FADE OUT

SCENE TWO

The scene shifts to Rachel's room at BCUH. Rachel is alone. Door opens, and Carl walks in.)

CARL: Hello, love.

RACHEL: Carl, we need to talk.

CARL: About?

RACHEL: Did you hear about Lydia?

CARL: Not lately, except from you.

RACHEL: She's dead.

CARL: What?

RACHEL: Dead, deceased, expired, passed away.

CARL: But how?

RACHEL: Car accident.

CARL: This is going to sound horrible of me, but

RACHEL: I know what you're thinking. But at least she is out of our lives now.

CARL: Well, yes.

RACHEL: No, Carl. She isn't.  
FADE OUT

SCENE THREE

(The scene shifts to an undisclosed location, and we see the shadow of a man talking on the phone.)

MAN: No, they don't even know I'm in the country. (Pause) I told you I'd take care of it. (Pause) Well, their pictures were no problem. (Pause) I guarantee you, this will make _all_ of them look bad. (Pause) Yeh, I've got _that_ address, too. (Pause) I told you, it won't cost you a cent. (Pause) Let's just say you're not the only one with a grudge.(Lighting changes, and we now see that the man speaking on the phone is Brad.)  
FADE OUT

SCENE FOUR

(The scene shifts to the chambers of Judge Tyrone Montgomery.  
Cass and Tyrone are inside.)

TYRONE: Yes, I think I can get this moved to my courtroom.

CASS: I really appreciate that.

TYRONE: And I'm not just doing it because we used to be partners, and I'm not doing it because I officiated at your wedding.

CASS: I know. And you're not doing it because of your friendship with Kirkland's Aunt Marley, either.

TYRONE: (sighs) I can remember when it was more than just a friendship.

CASS: I know. But, getting back to the matter at hand...

TYRONE: Getting back to the matter at hand, these papers are perfectly legitimate.

CASS: True, but Grant obtained them without a hearing. Jamie Frame never had his day in court. I'd say there's something fishy about that.

TYRONE: Well, Grant _is_ all buddy-buddy with Wilbur O'Malley.

CASS: Tell me, what is your take on Judge O'Malley?

TYRONE: Let's just say that I consider that man neither a colleague, nor a friend.  
FADE OUT 

SCENE FIVE: CLOSING SCENE

(The scene shifts to Rachel's room at BCUH. Carl is inside with Rachel.)

CARL: What do you mean, she isn't out of our lives? She's dead. She can never bother us again.

RACHEL: "Bother us"?

CARL: Yes. Her role in our lives was... unpleasant.

RACHEL: Just what role did she play in our lives? Tell me the truth. I can handle it. (thinking) Damn it, Carl, tell me the truth this time.

CARL: Rachel, love, I told you she is... she _was_ my sister.  
FREEZE FRAME


	63. Episode 63

This change-of-pace episode concentrates on a single  
storyline.

SCENE ONE

(The scene is Rachel's room at BCUH. Carl is inside with Rachel.)

CARL: I told you, she's my sister, but 

RACHEL: (yells) GET OUT!

CARL: But, Rachel

RACHEL: I told you to get out.

CARL: But, Love

RACHEL: (spacing each word) Don't you ever _dare_ call me "love" again. Just get out.

CARL: Rachel

RACHEL: What part of "get out" don't you understand?

CARL: (desperately) Please listen.

RACHEL: I've heard enough. Just go. Just leave me alone.

CARL: (sighs in defeat) Very well. (Walks out.)

RACHEL: (Pounds bed) Damn it!  
FADE OUT

SCENE TWO  
Ten minutes later

(The scene shifts to the living room of the Winthrop home. Lila is sitting on the sofa, reading a magazine. Cass walks into the room.)

LILA: Who was on the phone?

CASS: Rachel.

LILA: So she's better? That's good.

CASS: I _hope_ she's better. She wants to see me.

LILA: As her attorney, or as her friend?

CASS: I don't know. I couldn't tell over the phone.  
FADE OUT 

SCENE THREE  
TWENTY MINUTES LATER  
(The scene shifts to Rachel's room at BCUH. Cass is inside with Rachel.)

RACHEL: Thank you for coming. I know it's after hours.  


CASS: Oh, no problem. I don't keep office hours where my friends are concerned.

RACHEL: Thank you. I really appreciate that.

CASS: And your mind is made up?

RACHEL: I definitely want to go through with this.

CASS: I really wish you'd reconsider. Why don't you sleep on it?

RACHEL: No, Cass. I don't want to sleep on it. I've put off the inevitable long enough.  
FADE OUT

  


SCENE FOUR  
THE NEXT MORNING

(The scene shifts to Cass Winthrop's law office. Carl is inside with Cass.)

CASS: Thank you for coming so quickly.

CARL: Well, it sounded urgent.

CASS: It is, and... I'm afraid it's not good news.

CARL: Rachel?

CASS: She called me last night. Apparently, she's regained her memory.

CARL: She has, and she informed me that Lydia had been killed in a car crash. Then she asked me to tell her who Lydia really was.

CASS: Yes, Rachel mentioned all that. She also told me what _you_ said.

CARL: Had I been allowed to continue, I would have gone on to admit that that had been a lie.

CASS: Wait a minute. Are you saying that you were going to tell Rachel the truth?

CARL: As I should have done from the beginning.

CASS: Well, why don't you go to Rachel and tell her that?

CARL: (sighs) I might, if Rachel hadn't left orders barring me from her room.

CASS: Then let me tell Rachel what you've told me.  
FADE OUT

SCENE FIVE  
FIFTEEN MINUTES LATER  
(The scene shifts to Rachel's room at BCUH. Cass is inside with Rachel)

RACHEL: You're sure about that?

CASS: I have no reason to doubt him. (Looks seriously at Rachel) So, since Carl _was_ going to tell you the truth, will you reconsider?

RACHEL: Well, now that Lydia is no longer a factor  
FADE OUT

SCENE SIX: CLOSING SCENE  
SEVERAL HOURS LATER  
(The scene shifts to a room in a funeral parlor. There is a casket at the front of the room. Nobody is in the room except Iris, who is walking towards the casket. Iris reaches the casket, kneels, and looks inside.)

IRIS: (gasps) Oh, my God! That's not Lydia!  
FREEZE FRAME


	64. Episode 64

This episode begins thirty minutes after the previous one ended.

SCENE ONE

(The scene is Rachel's room at BCUH. Carl is inside with Rachel.)

CARL: I came as soon as I heard from Cass.

RACHEL: I'm glad you did. I owe you an apology for not letting you finish what you were saying yesterday.

CARL: It was my fault. I should never have used the words, "She was my sister." I should have realized that.

RACHEL: It was my fault, too. I should have told you that I remembered everything.

CARL: No, Rachel. You were trying to give me a chance to tell the truth.

RACHEL: Well, yes, but I'm afraid I was expecting

CARL: That I would lie? (Rachel nods) Well, I can't blame you. I've lied so often since this began. I've made so many mistakes.

RACHEL: We've both made mistakes.

CARL: So, shall we start over?

RACHEL: No. We can't do that.  
FADE OUT

SCENE TWO:

(The scene shifts to CARLINO'S. Donna, Marley and Jamie are sitting at a table, eating chicken cacciatore and talking)

DONNA: Now, I know Cass is one of the best lawyers in the state of Illinois, but let's not forget who he's up against.

MARLEY: Grant. My ex-brother-in-law.

JAMIE: Mine, too.

DONNA: You know, even with a top-notch attorney like Cass, there's no guarantee that you'll win custody of Kirkland.

JAMIE: I know. I hate to think of Grant getting custody, but I have to face the fact that it's a very real possibility.

MARLEY: Which is why Donna has come up with a contingency plan.

DONNA: Yes, I have, and I'd like to run it by you, Jamie.  
FADE OUT

SCENE THREE

(The scene shifts to Grant's office at City Hall. Grant is inside with Chip Rayburn.)

CHIP: You know, that Winthrop guy is pretty popular. He just might win the election.

GRANT: Not as long as he is Jamie Frame's attorney in the custody case.

CHIP: You mean

GRANT: Exactly. I'm going to challenge his ethics in opposing me in both the political arena and the courtroom.  
FADE OUT

  
SCENE FOUR

(The scene shifts to the Art Center at Foster Park. Several children, including Bonnie, are working on their clay models. Some men and women are walking quietly around the room, watching the children. A little girl with short black hair is sitting at the same table as Bonnie. She is making a sculpture of a duck. Bonnie is working on her sculpture of a monkey sitting on a banana.)

GIRL: (whispers) What do you think of my model, Bonnie?

BONNIE: I think it's good, Yvette.

YVETTE: Well, it's a lot better than your stupid monkey on a banana.

BONNIE: Yvette, why are you always so mean?  
FADE OUT

SCENE FIVE: CLOSING SCENE

(The scene shifts to Rachel's room at BCUH. Carl is inside with Rachel.)

CARL: What do you mean, we can't start over?

RACHEL: We can't.

CARL: But, Love, I thought

RACHEL: We can't start over, because in order to that we'd have to erase the past. All we can do is go on from here.

CARL: (hopefully) Together?

RACHEL: Together.  
FREEZE FRAME


	65. Episode 65

This episode begins the day after the previous one ended.

SCENE ONE

(The scene is Cass Winthrop's law office. Carl is inside with Cass.)

CASS: So you want me to tear up those divorce papers?

CARL: Tear them up, burn them... the method doesn't matter, just as long as they are destroyed.

CASS: Consider it done. Oh, did they ever find out who it was that attacked Rachel?

CARL: No. There were no clues and no witnesses.

CASS: Will Rachel be coming home soon?

CARL: Yes. Tomorrow.  
FADE OUT

SCENE TWO

(The scene shifts to Peggy Walters' bedroom. Peggy is sprawled on the bed, talking on the phone.)

PEGGY: You know, I'm not too sure about this any more. (Pause) No, of course not. I still want to get them. (Pause) My problem is, I'm not sure we should have involved his sister. I mean, she didn't do anything to us. (Pause) Well, you have a point there. Those pictures did fall right into our hands.(Pause) We just have to remember who our main target is. The important thing is to get her, and get her good.  
FADE OUT

SCENE THREE  
A FEW HOURS LATER

(The scene shifts to the "Recreational Computer Room" at the 2-3. Josie is at the computer, playing a game. We don't see what the game is, but we hear assorted beeps, blips, bells, and buzzers. The door opens, and Edith walks in. She has a purse in her hand.)

JOSIE: (turning around) Hello, Edith.

EDITH: I'm surprised you're using this computer.

JOSIE: Don't worry. I'm allowed to use it again. Joe lifted the ban.

EDITH: That's not what I mean.

JOSIE: Just what _do_ you mean, then

EDITH: I'd think you'd be ashamed to touch this computer, after what you did.

JOSIE: Look, Edith, what I did was wrong, but it's not up to you to lecture me about it.

EDITH: But it was up to you to suspend me, wasn't it?

JOSIE: Are you still angry about that? I did what I thought was the right thing to do. Besides, didn't Joe lift the suspension?

EDITH: But he also made me write a report. I hate writing reports for punishment. It makes me feel like a misbehaving schoolgirl.

JOSIE: Oh, come on. I've had to write _my_ share of reports. (changes the subject) You know, Edith, there are some great two-person games on this computer.

EDITH: So?

JOSIE: So why don't we play one together?

EDITH: No, thanks. I'd rather play with a friend... or by myself.

JOSIE: (sighs) Suit yourself. (Gets up and leaves the room.)

EDITH: (thinks)Thank goodness she's gone. (Opens purse, takes out cell phone, presses button.) It's me. All systems are go. (pause) I've got the software. (Pause) If anyone catches me, I'll just say I'm putting in some new games. (Pause) Yes, the website is up, too. All we have to do is post the link on as many boards as we can. (Pause) One way or the other, someone will be sure to see those pictures.  
FADE OUT

SCENE FOUR

(The scene shifts to the chambers of Judge Wilbur O'Malley. Wilbur is inside with a tall woman with long black hair.)

WILBUR: So you'll take care of it, Gina?

GINA: I told you I would, remember?

WILBUR: So...

GINA: I'll bring it up in my courtroom tomorrow. Of course, you _do_ realize I'll be taking a risk.

WILBUR: Don't worry. I'll make it well worth your while.  
FADE OUT

SCENE FIVE  
A FEW HOURS LATER

(The scene shifts to Grant and Cindy's apartment. Grant is on the phone.)

GRANT: So why don't you come up for awhile? (pause) No, she's still out of town. (pause) Don't worry. She won't be back for at least two more days.(pause) Of course I'm sure. You don't think I'd take any chances at a time like this, do you? (pause) So we'll have a drink and (chuckles) talk.  
FADE OUT

SCENE SIX

(The scene shifts to Edith's home. Edith is on the phone.

EDITH: Hey Cuz! Just wanted to let you know I got the software. (Pause) Yes, I installed it. (Pause) No, nobody saw me. (Pause) Yes, I gave her the URL to your new website. (Pause) I'll bet somebody important will see it by tomorrow. (Pause) Oh, and thanks again, Brad.  
FADE OUT

SCENE SEVEN: CLOSING SCENE  
THE NEXT MORNING

(The scene shifts to Grant's apartment. Grant and Cecile are in the living room, talking.)

GRANT: Last night was incredible.

CECILE: It was perfect.

GRANT: Too bad it has to end.

CECILE: For now. Don't forget, you have a city to run.

GRANT: I know, but before you go... (takes Cecile in his arms. They kiss, then they pull apart.)

CECILE: Until next time. (Walks to door and opens it, then gasps. Cindy is standing outside, about to put her key in the lock.)

CINDY: What the Hell are _you_ doing here?  
FREEZE FRAME


	66. Episode 66

THIS EPISODE BEGINS WHERE THE PREVIOUS ONE LEFT OFF

SCENE ONE

(The scene is Grant's apartment. Grant and Cecile are in the living room, talking.)

GRANT: Last night was incredible.

CECILE: It was perfect.

GRANT: Too bad it has to end.

CECILE: For now. Don't forget, you have a city to run.

GRANT: I know, but before you go... (takes Cecile in his arms. They kiss, then they pull apart.)

CECILE: Until next time. (Walks to door and opens it, then gasps. Cindy is standing outside, about to put her key in the lock.)

CINDY: What the Hell are you doing here? (Thirty seconds go by) Well? What are you doing here, in my home, at this hour of the morning?

(Grant walks over)

CECILE: Grant, about that business we were discussing

GRANT: Ah, yes

CINDY: What business?

GRANT: Nothing that concerns you.

CINDY: Oh, if it involves my _husband_ , I think it _does_ concern me. Never mind. I think I know _exactly_ what you're doing here.  
FADE OUT

SCENE TWO  
ONE HOUR LATER  
(The scene shifts to the dining room of the Cory-Hutchins mansion. Carl, Cory, and Elizabeth are eating waffles.)

ELIZABETH: Daddy, is Mommy really, truly coming home today?

CARL: Yes, she really, truly is coming home.

CORY: And she's not mad at you any more?

CARL: We have completely reconciled.

CORY and ELIZABETH: Huh??

CARL: That means that the problems we had have been resolved.

ELIZABETH: You mean everything is okay again?

CARL: Everything is better than okay. Everything is splendid!  
FADE OUT

SCENE THREE

(The scene shifts to an apartment in Chicago. Iris is on the phone.)

IRIS: So you'll be here in a few seconds? (Pause) Good. I'll see you then. (Hangs up phone. A few seconds later, the doorbell rings. Iris goes to the door, looks through peephole, opens door to a woman in a floppy pink hat and large sunglasses.)

WOMAN: Hello, Iris.

IRIS: (laughing) You look ridiculous in that hat and those glasses.

WOMAN: (as she and Iris walk inside, and Iris shuts the door.) I know, but better ridiculous than recognized.

(Woman removes hat and glasses, revealing herself to be Lydia.)  
FADE OUT

SCENE FOUR  
NINETY MINUTES LATER

(The scene shifts to Grant's office at City Hall. Grant is inside with Chip Rayburn.)

CHIP: I really think you should spend more time campaigning.

GRANT: Perhaps I should, but it looks better if I _don't_ campaign at this time.

CHIP: I don't get it. If you want to be re-elected...

GRANT: Actually, I'm campaigning by NOT campaigning.. by focusing my energy on the custody hearing.

CHIP: Ah ha. Better for your image, right?

GRANT: Exactly.

CHIP: And Cass Winthrop being Jamie Frame's attorney _and_ your opponent in this race may not look right to a lot of people.

GRANT: As a matter of fact, I _had_ planned to bring that up during the hearing, but I have a stronger weapon now.

CHIP: You do? What?

GRANT: (smugly) Something my worthy opponent will never be able to trace to me.  
FADE OUT

SCENE FIVE  
THAT AFTERNOON

(The scene shifts to the living room of the Cory-Hutchins mansion. Joe and Paulina are on the couch with Cory and Elizabeth. Dante and Ryan Gabriel are playing a board game on the carpet.)

ELIZABETH: When will Mommy be here?

PAULINA: Your Daddy should be bringing her home any minute now.

CORY: Good.

DANTE: (Looking up) I'll be glad when Grandma gets here.

JOE: We all will.

CARL: (offscreen) Children! Mommy's home!

CORY AND ELIZABETH: (jump off sofa, run to door) Mommy! Mommy!  
FADE OUT

SCENE SIX: CLOSING SCENE  
ONE HOUR LATER

(The scene shifts to a courtroom. We see that the judge is the woman Wilbur O'Malley was talking to in the previous episode. Cass is addressing the jury)

CASS: Which will prove my client's absolute innocence in this matter.

GINA: One moment please. Before we proceed any further, I'd like to address something which is causing me a great deal of concern.

CASS: Your Honor, this is highly irregular. I'm in the middle of

GINA: Nevertheless, Mr.Winthrop, I feel that this cannot wait. Quite frankly, I am not comfortable with having an attorney in my courtroom who has a history of mental illness.

(Murmurs are heard throughout the courtroom)  
FREEZE FRAME


	67. Episode 67

THIS EPISODE BEGINS WHERE THE PREVIOUS ONE LEFT OFF  
SCENE ONE

(The scene is the courtroom. Cass is facing Gina.)

CASS: I beg your pardon?

GINA: Mr. Winthrop, do you or do you not suffer from manic-depression?

CASS: With all due respect,Your Honor, this is highly inappropriate. If you had any questions as to my fitness to appear in your courtroom, you should have approached me privately.

GINA: Mr. Winthrop, I will decide what is and is not appropriate in my courtroom.

CASS: Your Honor

GINA: You have not answered my question. Do you suffer from manic-depression?

CASS: No, I do not.

GINA: Oh, really? I have documents which prove otherwise.  
FADE OUT

SCENE TWO

(The scene shifts to the living room of the Cory-Hutchins mansion. Carl and Rachel are on the sofa. Mozart's "Eine Kleine Nachtmusik" is playing.)

RACHEL: It was nice of Joe and Paulina to take the children to the park.

CARL: Yes; we need this time together, just the two of us.

RACHEL: And with school starting, they won't have be able to spend as much time in the park.

CARL: They love to feed the ducks.

RACHEL: Do they still think they are the same ducks as the ones in MAKE WAY FOR DUCKLINGS?

CARL: No. As a matter of fact, they now want to go to Boston to see those ducks.

RACHEL: Let's take them sometime.

CARL: Splendid! But first, I'd like to take them to THE TRIPODI GALLERY to see your sculptures.

RACHEL: Is the exhibition still going well?

CARL: It's going extremely well.

RACHEL: And nothing more has been said about (hesitates)

CARL: Nothing at all, at least in the art sections of the various newspapers and magazines. Their writers are only concerned, as they should be, with your sculptures.  
FADE OUT

SCENE THREE

(The scene shifts to the duck pond at Foster Park. Joe, Paulina, and Rita Bennet are on the bench. Angela Rose is in her carriage. Dante, Ryan Gabriel, Cory, Elizabeth, and Bonnie (in her wheelchair) are feeding the ducks.)

ELIZABETH: I'm glad Mommy's home.

CORY: Me, too. And I'm glad she's not mad at Daddy any more.

BONNIE: I like your Grandma's sculptures. Maybe I'll be an artist like her when I grow up.

DANTE: Your stuff is really good. I saw the sculpture you made for the contest.

ELIZABETH: What kind of a model did you make, Bonnie?

BONNIE: (tossing breadcrumbs into the pond) A monkey sitting on a banana.

CORY: When are you gonna know if you won?

BONNIE: In a few weeks.  
FADE OUT

SCENE FOUR

(The scene shifts to the courtroom.)

CASS: Can you prove that these alleged documents are authentic?

GINA: Yes, I can.

CASS: Moving on to my next question: Exactly how did you obtain these alleged documents?

GINA: You will stop referring to these documents as _alleged_ , Mr. Winthrop. I assure you and everyone in this courtroom that they are very real.

CASS:(Turning to face the jury) Ladies and gentlemen, it would seem that _I_ have been placed on trial here. My mental health, and my fitness as an attorney, have been called into question. I've been asked whether I suffer from manic-depression. The answer is no, I do not.

GINA: Mr. Winthrop

CASS: It is true that I was diagnosed with manic-depression quite a few years ago. (Murmurs in the courtroom) However, I am on medication which keeps it under control.

GINA: Nevertheless, Mr. Winthrop, your history

CASS: (breaking in) Excuse me, Your Honor, but have you ever had the measles? Chicken pox? The flu?

GINA: Well, yes, but

CASS: Well, in that case, Your Honor, I feel rather uncomfortable being in your courtroom. After all, I don't want to get measles, chicken pox, or the flu.

(Spectators laugh)

GINA: (realizing she's losing control of the situation) Mr. Winthrop, I don't see

CASS: Don't you? You have a _history_ of measles, chicken pox, and influenza. What proof can you offer that you are not now suffering from any of those diseases?  
FADE OUT

SCENE FIVE

(The scene shifts to THE JASMINE GARDEN. Jamie, Donna, Marley, Steven, and Kirkland are at a table, eating spareribs.)

KIRKLAND: I still don't see why I can't spend time with my own father.

JAMIE: We explained all that, Kirk.

STEVEN: Grant is not a good man, remember?

DONNA: That's right. He's done more evil things than I can count.

MARLEY: Including shooting himself and framing your mother.

STEVEN: And that was a terrible thing to do. I don't see why you would want to spend any time with him.

KIRKLAND: Just because he is my father! I'm not a little kid anymore.  
Don't I have a right to decide some things for myself?

JAMIE: Some things, yes, but not this.

(Camera pans to door, and we see Grant and Cindy walk in.)

CINDY: If you think taking me to lunch is enough, you are greatly mistaken. I still want an explanation.

GRANT: I've already told you. Cecile and I had business to discuss.

CINDY: And I've asked you what kind of business?

GRANT: You need to trust me, otherwise what kind of a marriage do we have?

CINDY: (thinking) I know just what kind of a marriage we have, Grant, but someday...

(Grant and Cindy reach the table where Jamie, Donna, Marley, Steven and Kirkland are seated)

GRANT: Well, well! Fancy meeting you here!

DONNA: Hello, Cindy.

MARLEY: How's everything going, Cindy?

GRANT: It seems to me that there are two people missing from this little gathering.

JAMIE: If you mean Bridget and Michelle, they have a play date.

KIRKLAND: And besides, they don't like Chinese food.

JAMIE: Kirk, I'd rather you didn't talk to Grant.

GRANT: Oh, come now. There is no harm in a boy talking to his father.

STEVEN: (under his breath) Some father.

GRANT: Whether you like it or not, Steven, I _  
am_ Kirkland's biological father, and in a few weeks I shall also be his _custodial_ parent.  
FADE OUT

SCENE SIX: CLOSING SCENE  
TWO HOURS LATER

(The scene shifts to Grant's office at City Hall. Grant is talking with Judge Wilbur O'Malley and Chip Rayburn.)

O'MALLEY: I hope our plan to discredit your (clears throat) worthy opponent was a success.

GRANT: I'm sure it was. I saw to it that there were a number of reporters in the room who will slant the story in, shall we say, the right direction.

O'MALLEY: Then that's one problem solved.

CHIP: So what's next on the agenda?

GRANT: Something that's been on the agenda, as you put it, for quite some time.

CHIP: You mean?

GRANT: Exactly. Our next order of business is to take care of Captain Joseph Carlino, one way or another.  
FREEZE FRAME


	68. Episode 68

THIS EPISODE BEGINS SEVERAL  
DAYS AFTER THE PREVIOUS EPISODE ENDED. IT IS NOW SEPTEMBER, 2003

SCENE ONE  
(The scene is Peggy Walters' bedroom. Peggy is on the phone, and, as the saying goes, she is _not_  
a happy camper.)

PEGGY: What do you mean, the disks are no good? (Pause) Well, what _is_ on them? (Pause) Just games? That's all you saw? Well, your cousin must have sent you the wrong software. (Pause) How soon can you get in touch with him? (Pause) Okay. I want the right software ASAP. FADE OUT

SCENE TWO

(The scene shifts to the squad room of the 2-3. Josie and Naomi are standing near the coffeepot and doughnuts. Josie is pouring a cup of coffee. Naomi is eating a chocolate-covered doughnut Joe walks over.)

JOE: Good morning, Josie, Naomi

JOSIE: Good morning.

NAOMI: (swallowing doughnut) Good morning.

JOE: Dante started second grade yesterday. He told Paulina and me that he likes his new teacher a lot.

NAOMI: I'm glad to hear that, since his new teacher is my mother.

JOSIE: Is Dante's friend Bonnie in the same class?

JOE: Yes. She had to see a tutor, of course, because of the time she lost (hesitating)

JOSIE: Because of the accident. I know. Gary lives with it every day.

NAOMI: My mother said she's going to have Bonnie help her when they have art, because Bonnie's good at it, and (smiling) Mom isn't.

JOSIE: Oh, Joe, I wanted to talk to you about something.

JOE: What is it, Josie?

JOSIE: I was on the Recreational Computer the other day, and I noticed that some new games had been installed.

JOE: That's funny. I didn't install anything. Well, if someone wanted to add some new games, I guess there's no harm in it.  
FADE OUT

SCENE THREE

(The scene shifts to an undisclosed location. Brad is on the phone.)  
BRAD: No, I did not make any mistake. (Pause) Yes, I know there are games on the disks. (Pause) No, it wasn't a mistake. The pictures are there. It just takes awhile to get to them. (Pause) Because it's better if it looks likes just your everyday games package. (Pause) Don't worry. I've got it covered. (Pause) I've got a friend who is an expert on hacking into websites. (Pause) Exactly. Those doctored pictures are going to show up in the most unexpected places.  
FADE OUT

SCENE FOUR  
A FEW HOURS LATER.

(The scene shifts to a classroom at Bay City Elementary. Among the students are Dante, who is sitting in the second row, third seat, and Bonnie, who is at a table to accommodate her wheelchair. The name MRS. LEIBOWITZ is on the chalkboard.)

MRS. LEIBOWITZ: And we'll end each day with a chapter or two from some good book. (Dante raises his hand) Yes, Dante?

DANTE: What book are we going to read first, Mrs. Leibowitz?

MRS. LEIBOWITZ: It's a book I loved when I was a girl, and I took the precaution (Bonnie raises her hand) Yes, Bonnie?

BONNIE: What's a precaution?

MRS. LEIBOWITZ: Well, in this case it means that I read the book again, just to be sure it was as good as I remembered. I learned to do that after I began reading a clunker that neither my students nor I enjoyed. Now, the book we'll be starting off with is "All-Of-A-Kind Family", by Sydney Taylor  
FADE OUT

SCENE FIVE: CLOSING SCENE  
SEVERAL HOURS LATER

(The scene shifts to the living room of the Bennet home. Dante is sitting on the couch. Bonnie is in her wheelchair. There is a computer in the room.)

DANTE: I'm glad your Mom asked me to stay for supper.

BONNIE: Do you want to play a game on the computer?

DANTE: Sure.

BONNIE: I know there's stuff you're not allowed to look at, but we've got it blocked.

DANTE: My parents block that stuff, too. And I'm not allowed to go to sites, even kids' sites, that let people post links.

BONNIE: Me neither, because sometimes people post bad stuff.

(Rita comes into the room)

RITA: Supper will be ready in about twenty minutes.

BONNIE: Okay. Me and Dante are going to play a game on the computer.

RITA: Dante and I.

BONNIE: (with that patience kids sometimes need to use with adults) Dante and I are going to play a game.

RITA: Have fun. Just remember the rules.

BONNIE: Okay, Mom.

(Rita leaves the room. Bonnie wheels herself over to the computer.)

DANTE: It's great the way you can wheel your own chair now.

BONNIE: Someday, when I'm old enough, I'm getting a motorized chair. (Turns on computer) You pick a game.

DANTE: Okay. (moves mouse, clicks on link) You go first.

BONNIE: My favorite game!

DANTE: I know.

BONNIE: (moves wheelchair in front of computer and starts to play. We hear beeps and bells.) Hey! Isn't that your Aunt Sofia?

DANTE: Yeah, it is. But how come she never told us they put her in a game?

BONNIE: I guess she wanted to surprise (gasps) What is she doing? (Dante looks at the computer. He turns, and we see a horrified look on his face, a look no child should ever have.)  
FREEZE FRAME


	69. Episode 69

This episode begins several hours after the previous one ended/

SCENE ONE

(The scene is Joe and Paulina's bedroom. Joe and Paulina are in bed, talking.)

PAULINA: I've never seen Dante so upset.

JOE: I know. Poor kid.

PAULINA: How did those pictures of Sofia end up in that game, anyway?

JOE: I don't know. I mean, Dante has been playing that game for _months_ , and nothing like that ever happened before.

PAULINA: What did you tell him?

JOE: I explained that someone must have used a picture of his Aunt Sofia's face, but only her face.

PAULINA: Let's just hope he never finds out the truth. After all you and I both know that she really _did_ pose for those pictures.

JOE: Well, God knows I'm not defending what Sofia did, Blue Eyes,but she never expected them to be published anywhere.

PAULINA: Even if she didn't expect those pictures to be published anywhere, the fact remains that she _did_ pose for them.

JOE: Yes, and she regrets it.

PAULINA: Maybe.

JOE: What do you mean, " _Maybe_ "?

PAULINA: Let's face it, Joe. Sofia has seemed different since she came back. I mean, she hasn't gotten a job, and she hasn't even mentioned looking for one, and she hasn't said anything about getting a place of her own.

JOE: So?

PAULINA: So remember how independent she wanted to be when she left for Europe?

JOE: So you think something is going on with Sofia?

PAULINA: I think you should have a talk with her.  
FADE OUT

SCENE TWO  
THE NEXT DAY

(The scene shifts to Cass Winthrop's law office. Cass is talking with Jamie.)

CASS: Well, we finally got a court date for the custody hearing. That's the good news. JAMIE: And the bad news?

CASS: I was hoping to get a sympathetic, or at least an impartial, judge.

JAMIE: And?

CASS: We'll be going before Judge Wilbur O'Malley, who is a good friend, a _very_ good friend, of Grant Harrison.

JAMIE: That doesn't sound good.

CASS: Oh, I intend to ask the judge to recuse himself.  
FADE OUT

SCENE THREE

(The scene shifts to the chambers of Judge Wilbur O'Malley. Grant is inside with the judge.)

O'MALLEY: Mr. Winthrop will probably ask me to recuse myself on the grounds of our friendship.

GRANT: Exactly. That's what I'm counting on. Let's not forget that Cass Winthrop is also opposing me in another matter.

O'MALLEY: Well, we must see to it that he loses on _both_ fronts.

GRANT: I'm just glad the hearing is before the election.

O'MALLEY: Well, of course, the hearing is merely a formality. The ruling is a foregone conclusion.

GRANT: (smiling) Of course.  
FADE OUT

SCENE FOUR  
ABOUT AN HOUR LATER  
(The scene shifts to Joe's office at the 2-3. Toni and Josie are inside with Joe.)

TONI: I thought the pictures of Sofia had been deleted. So how did they turn up again?

JOSIE: That's what we're going to investigate, right, Joe?

JOE: That, and even more importantly, who planted it in a game that little kids play online. I mean, Dante and his little friend Bonnie didn't need to see that crap, never mind the fact that it was Sofia's picture.

JOSIE: I just wonder if that Brad creep is involved.

TONI: I wouldn't be surprised.

JOE: Neither would I, but I'd bet there's more than one person involved.

JOSIE: Meanwhile, what do we do about the website itself?

JOE: I've already sent an e-mail to the owners of the site, but I haven't gotten a response.

TONI: Maybe the owner didn't want to reply because you're a police captain.

JOE: And that's exactly why I didn't mention that. I simply wrote to them as a concerned father.

JOSIE: Which is exactly what you are.  
FADE OUT

SCENE FIVE  
Forty-five minutes later

(The scene shifts to the playground at Bay City Elementary School. Dante is walking across the playground. Bonnie is wheeling herself in her chair.)

DANTE: You're getting real fast at wheeling your chair.

BONNIE: I know, but I still wish I could run like I used to before the accident.

DANTE: I know.

(A boy about the same age as Dante and Bonnie approaches)

BOY: Hey, Dante, you tell your aunt that because of her I can't use the computer any more.

DANTE: What are you talking about, Barry?

BARRY: Don't you know? There are dirty pictures of her all over the Internet.

BONNIE: And?

BARRY: And my parents say that they can't believe the police captain's sister would pose for stuff like that so that everyone in the world  
could see it.

DANTE: Shut up, Barry.

BARRY: You know what my Dad says?

BONNIE: Who cares what your Dad says?

DANTE: Yeah, who cares?

BARRY: He says your aunt is nothing but a  
(Scene fades out while Barry is still talking.)

SCENE SIX: CLOSING SCENE  
Twenty minutes later

(The scene shifts to Joe's office at the 2-3. Joe is at his desk, looking at a file. Paulina walks in, obviously upset.)  
JOE: Hey, Blue Eyes! What's up?

PAULINA: We've got to get down to the school and pick up Dante.

JOE: (concerned) Why? What's wrong? Is he sick, or hurt?

PAULINA: No, it's not that.

JOE: Then what is it?

PAULINA: Our son has just been suspended from school.  
FREEZE FRAME


	70. Episode 70

This episode begins about twenty minutes after the previous one ended.

SCENE ONE  
The scene is the principal's office at Bay City Elementary school. Joe and Paulina are inside with Principal Mabel Jordan, a rather heavyset woman whose black hair is starting to turn grey. Dante is sitting on a chair, reading a paperback book. We don't see the title.)

MRS. JORDAN: You need to understand, Captain and Mrs. Carlino, that we have a zero-tolerance policy when it comes to fighting.

JOE: Well, I can understand that, but kids will get into fights, and I just don't see the point in suspending a second-grader.

PAULINA: Especially when you consider that Dante has never been in trouble before.

MRS. JORDAN: You are absolutely right. Dante _has_ never been in trouble (pause) _before_.

JOE: And another thing, Mrs. Jordan. If Dante was fighting, he had to be fighting with somebody. Where's the other kid?

PAULINA: That's what I'd like to know.

MRS. JORDAN: It wasn't exactly a _fight_. The teacher on playground duty saw Dante punch Barry Peters in the mouth. She did not see Barry hit Dante.

JOE: Could she have missed it? We all know how hectic  
things can get on the school playground.

DANTE: (getting up and walking over to his parents. We now see that the book in his hand is "Henry Huggins", by Beverly Cleary.)  
Mom, Dad, I hit Barry, but he didn't hit me.

MRS. JORDAN: So you're admitting that you started it, Dante?

DANTE: No, Mrs. Jordan. Barry started it.

MRS. JORDAN: You're telling us that Barry started it, and yet he didn't hit you?

DANTE: Yes, Mrs. Jordan.

JOE: Mrs. Jordan, Dante isn't the kind of kid who would hit someone for no reason. In fact, this is the first time he's ever hit anybody.

PAULINA: That's right.

MRS. JORDAN: Well, Captain and Mrs. Carlino, be that as it may, he _did_ hit someone _today_ , and that is why he's been suspended.

PAULINA: If Dante says he's sorry, will you reconsider?

DANTE: But I'm not sorry. I'm _glad_ I socked Barry.  
FADE OUT

SCENE TWO

(The scene shifts to THE JASMINE GARDEN. Lila, Charlie, and Jasmine are at a table, eating spareribs.)

JASMINE: I like coming to this restaurant, because it has the same name as me.

CHARLIE: And the food's good, too. (Picking up sparerib) {Evidently, Charlie is not a vegetarian like her late mother!}

JASMINE: Yeah, but I like the food at CARLINO'S better.

CHARLIE: I wish Dad could've come with us.

LILA: Me too, but he's working on something important.

CHARLIE: Like his campaign?

LILA: No, not right now. This has to do with his work as a lawyer.

CHARLIE: Is it about Kirkland's custody case?

LILA: How do you know about that?

CHARLIE: Kirkland told me.

JASMINE: What's a custody case?

LILA: Okay, you know how your Daddy is really your stepfather, and Matt is your father?

JASMINE: Uh huh.

LILA: And you know how Matt comes to see you, and takes you places?

JASMINE: Uh huh.

LILA: Well, even though Matt is your father, you live with me and Cass, and that's called having custody. It's also called being a family.

CHARLIE: But Dad and Matt didn't fight about you. Jamie and Grant are fighting about Kirkland.

LILA: And your Daddy is going to see to it that Jamie gets to keep Kirkland.  
FADE OUT

SCENE THREE

(The scene shifts to Mrs. Jordan's office at Bay City Elementary School.)

MRS. JORDAN: You're _glad_ you hit him? I think you'd better explain yourself, young man.

DANTE: He said something that made me mad, and I socked him.

JOE: Can you tell us what he said?

DANTE: I'd rather not, okay, Dad?

MRS. JORDAN: Well, it doesn't really matter what Barry said. Hitting is not allowed here, no matter what the provocation. Therefore, the suspension stands, and you will apologize to Barry when you come back to school.

DANTE: (not defiantly, but seriously) No, Mrs. Jordan. I'm not going to apologize to Barry.  
FADE OUT

SCENE FOUR

(The scene shifts to the supermarket. Sofia is in frozen foods section. She slides open the freezer door, takes out three packages of cauliflower, and places them in her shopping cart. A woman with light brown hair approaches.)

WOMAN: (Addressing Sofia's back) Excuse me, can you tell me where the laundry products are?

SOFIA( Turning around) Yes, they're

WOMAN (gasping) My God! It's _you_! How can you have the nerve to go out in public? But then again, I suppose someone like you wouldn't have any sense of decency!

SOFIA: Excuse me?

WOMAN: My little girl went to her favorite website, a site geared to _children_ , a site that's _supposed_ to be safe, and what did she see? You, you slut, doing the most disgusting

SOFIA: I don't know what you're talking about.

WOMAN: Oh, I think you do. First of all, there was that article about you in THE SIZZLER.

SOFIA: THE SIZZLER? That rag is nothing but trash.

WOMAN: Well, you're also all over the Internet. And to think that your brother is the police captain! (Sarcastically) He must be very proud of you!

SOFIA: Get away from me.

WOMAN: Gladly. But just tell me one thing? How much did those porn sites pay you?

SOFIA: (very angry) How DARE you?

(Camera pans to show Peggy Walters standing a few feet away, listening to this exchange and smiling.)  
(As the scene fades out, we hear the sound of a slap.)

SCENE FIVE: CLOSING SCENE

(The scene shifts to the squad room of the 2-3. Josie, Toni and Naomi are standing in front of the coffeepot, drinking coffee and eating doughnuts. Edith is at her desk, talking on the phone.)

EDITH: I'll be right there. (Hangs up, starts to walk out.)

JOSIE: Wait a minute, Edith. Where are you going?

EDITH: We just got a complaint, and since I took the call, I think I should handle it.

JOSIE: Not by yourself. You know how Joe feels about that.

TONI: Why don't I go with you?

JOSIE: That would be perfect.

(Toni and Edith walk out. Screen darkens briefly, and then the words TWENTY MINUTES LATER appear.)

NAOMI: Edith and Toni should be back any minute now.

JOSIE: Yes, they (Toni walks in, and she does NOT look happy) What's wrong, Toni?

TONI: You guys are not going to believe this.

NAOMI: Why? What happened?

(Edith walks into the station house. She has someone handcuffed to her, but the camera doesn't reveal who it is.)

JOSIE: Oh, NO!!!!

NAOMI: Oy, gevalt!!!*

(Camera angle widens, and we now see that the person handcuffed to Edith is Sofia.)  
FREEZE FRAME

**Notes for the Chapter:**

> * "Oy, gevalt" is a Yiddish expression which can be  
> interpreted as, "Boy, have we got trouble!"  
> This is the most appropriate expression for Naomi  
> to use in the above scene; I am in no way making fun  
> of her religion;< br>  
> I myself am of Jewish descent on my mother's side, and proud of it.


	71. Episode 71

**Summary for the Chapter:**

> Edited, scene added.

This episode begins a few minutes after the previous one ended.  
SCENE ONE

(The scene is the squad room at the 2-3. Edith is booking Sofia. The woman from the supermarket is also there, making a complaint. They are speaking too low for us to hear. Toni, Josie, and Naomi are watching. To say that they look grim would be an understatement.)

TONI: I sure don't want to have to tell Joe about this.

NAOMI: Well, someone has to.

JOSIE: I'll call him.

TONI: Maybe you should go tell him in person.

NAOMI: I agree with Toni. This isn't the sort of news I'd want to hear on the phone.

JOSIE: You're right. Well, I may as well get it over with.  
FADE OUT

SCENE TWO  
(The scene shifts to the living room of the Carlino home. Joe, Paulina, and Dante are sitting on the couch.)

PAULINA: Are you sure you can't tell us why you hit Barry?

DANTE: I hit him because he had it coming.

JOE: Maybe he did, but that didn't give you the right to hit him.

PAULINA: And that's why you've been suspended from school.

DANTE: Am I gonna be grounded, too?

JOE: (sighing) I don't know. Your Mom and I want to believe that you had a good reason for hitting Barry, but we need to know what that reason was.

DANTE: I can't tell you, Dad.

PAULINA: Well, maybe if you told us, we could explain to Mrs. Jordan, and she'd drop your suspension.

DANTE: No. I don't want Ms. Jordan to know what Barry said.

JOE: You mean you'd rather just go along with the suspension?

DANTE: Uh huh.

PAULINA: Well, if we promise not to tell Ms. Jordan what Barry said, will you tell us?

JOE: How about it?

DANTE: Well (still reluctant)

JOE: Did he say something that might upset us?

DANTE: Yes.

PAULINA: Well, maybe it's something we need to hear.

DANTE: Well, okay. He said (Doorbell rings)

JOE: Oh, great! Perfect timing!

PAULINA: I'll get it. It may be the package I'm expecting.  
FADE OUT

SCENE THREE

(The scene shifts to the second grade classroom at Bay City Elementary School. Mrs. Leibowitz is standing at the chalkboard. Bonnie raises her hand.)  
MRS. LEIBOWITZ: Yes, Bonnie?

BONNIE: Where's Dante? Isn't he back yet?

MRS. LEIBOWITZ: (speaks sadly) I'm afraid he won't be back for quite some time. He's been suspended.

BARRY:(smugly) Serves him right for hitting me.

BONNIE:(fiercely) You deserved to be hit after what you said!

MRS. LEIBOWITZ: Well, no matter what Barry may have said, Dante was wrong to hit him. (Barry looks smug; Bonnie sighs) However, I will not tolerate name-calling. Is that clear?

CLASS: (except Barry) Yes, Mrs. Leibowitz

MRS. LEIBOWITZ: (emphatically) Barry?

BARRY: (sighs heavily)Yes, Mrs. Leibowitz.

(Bonnie raises her hand)

MRS. LEIBOWITZ: Yes, Bonnie?

BONNIE: May I please leave the room?  
Fade out

  


SCENE FIVE  
(The scene shifts to door of the Carlino home. Paulina has  
just opened the door to Josie)  
PAULINA: Hi, Josie. Come on in.

JOSIE: Hi, Paulina. I need to talk to Joe.

PAULINA: Well, we're in the middle of a family problem. Are you sure this is something you can't handle yourself?

JOSIE: (sighs) No, this is something I really should tell Joe.

(Joe walks up to them.)

JOE: Hey, Josie! What's up?

PAULINA: Josie has something to tell you.

JOE: (unsuspectingly) What's up, Josie?

JOSIE: I'm afraid it's bad news.

JOE: Okay, tell me what's wrong.

JOSIE: It's about Sofia.

PAULINA: What happened?

JOE: Is she hurt or something?

JOSIE: No. She's been arrested.

JOE/PAULINA: She's been what????

JOE: All right, why was my sister arrested?

JOSIE: Assault.

PAULINA: You're kidding, right?

JOSIE: I wish.

JOE: I've got to go down to the station.

PAULINA: I know you do.

JOE: Listen, Blue Eyes, just tell Dante there was an emergency at the 2-3 okay?. He's got enough on his plate already.  
fade out

SCENE SIX  
(The scene shifts to Mabel Jordan's office at Bay City Elementary School. Bonnie is inside with Mrs. Jordan)

MRS. JORDAN: So _that's_ why Dante punched Barry.

BONNIE: Yes, Mrs. Jordan.

MRS. JORDAN: Well, he certainly had provocation.

BONNIE: I'm not sure what that means.

MRS. JORDAN: It means he had a good reason to be angry.

BONNIE: Oh. So are you going to unsuspend him?

MRS. JORDAN: Reinstate. The word is "reinstate".

BONNIE: Are you going to reinstate him?

MRS. JORDAN: Bonnie, I said that he had a good reason to be angry, but I did not say that it was a good reason for him to hit Barry.

BONNIE: Oh.

MRS. JORDAN: On the other hand, Dante has enough to deal with without being suspended into the bargain.

BONNIE: So can he come back to school, Mrs. Jordan?

MRS. JORDAN: Well, I'll need to think it over first.

BONNIE: Yes, Mrs. Jordan.

MRS. JORDAN: Go back to your class now, dear. (opens door so Bonnie can wheel herself out)

BONNIE: Thank you.  
FADE OUT

SCENE SEVEN  
(The scene shifts to the squad room at the 2-3. Joe walks in, very fast. Sofia is in a holding cell. Josie is arguing with Edith.)  
JOSIE: I still say you didn't have to put her in a cell, Edith!  
  
EDITH: She committed assault!  
  
JOSIE: But she's Joe's sister!  
  
EDITH: And I saw her hit that woman! I had to arrest her!  
  
JOE: (walking up to cell) Bambina! What the Hell happened? Never mind. We'll talk at home. (Unlocks cell)  
  
EDITH: You can't just release her.  
  
JOE: I just did.  
  
EDITH: She should be in police custody!  
  
JOE: She _will_ be in police custody...my custody.  
  
(FADE OUT)  
  
  
SCENE EIGHT: CLOSING SCENE  
(The scene shifts to the second-grade classroom. Bonnie is back at her desk. The door opens and a young woman walks in and hands a note to Mrs. Leibowitz.)  
MRS. LEIBOWITZ: Barry, Mrs. Jordan wants to see you in her office.

BARRY: (suspiciously) Why?

MESSENGER: She knows now why the Carlino kid punched you.

BARRY: (gets up, passes Bonnie, speaks in a low voice)You told, didn't you? I'll get you for that!  
FREEZE FRAME  



	72. Episode 72

This slightly change-of-pace episode take the morning after the previous one. All scenes take place at the same time, and have one element in common.

SCENE ONE

(The scene is the dining room of the Cory-Hutchins mansion. Rachel, Carl, Cory, and Elizabeth are eating waffles.)  
RACHEL: So how do you like school so far this year?

CORY: It's okay, I guess. Mr. Williams said we'd be going on a lot of trips.

ELIZABETH: Well, Ms. Pringle said we'd have a lot of art projects.

CARL: I seem to remember that your cousin Dante and his friend Bonnie were in Ms. Pringle's class last year.

CORY: Yeah, Dad, they were.

ELIZABETH: I think it's so great that Dante is still Bonnie's friend. Some of the other kids stopped playing with her after she had that accident.

CORY: And Bonnie still doesn't know who the drunk driver was, does she?

RACHEL: As far as I know, she doesn't.

ELIZABETH: I don't think I'd want to know.

CARL: Speaking of Bonnie, wouldn't it be lovely if she won that clay modeling competition?

RACHEL: Yes, because she definitely shows talent.

CARL: They'll be announcing the results soon, won't they?

RACHEL: Yes, a week from Saturday.

CORY: She likes your sculptures a lot, Mom.

CARL: That's because she has taste as well as talent.

RACHEL: (smiling) Well, to use the word taste in another context, (Cory and Elizabeth look puzzled; they are not familiar with the word "context") suppose we finish these waffles before they grow cold.  
FADE OUT

SCENE TWO  
(The scene shifts to The Lucky Lady.  
Cass, Lila, Sergei, Felicia and Derek are at one of the tables, drinking coffee and eating waffles. Etta Mae is at the counter in back. The radio is on, playing smooth jazz.)

FELICIA: We really need to discuss your campaign strategy.

CASS: I know that's been on the back-burner lately.

FELICIA: _Lately_? Come on, Cass. You announced that you were running for mayor, and that was it!

CASS: Well, I've had other things to deal with. Kirkland's custody, for example. That's important, too.

DEREK: That's for sure. Now, I wasn't exactly Jamie's number one fan when he and Vicky were fighting for custody of Steven, but this case is different.

FELICIA: Do you know which judge will be hearing the case?

CASS: Oh, I'm sure it will be one of our current mayor's friends.

FELICIA: Of course it will. Just as I'm sure that Judge Gina What's-her-name is one of his friends.

CASS: Yes, I'm sure Grant or his campaign staff had her bring up my manic-depression in court.

LILA: Talk about mud-slinging!

SERGEI: Yes, it was, what do you say? Filthy politics.

DEREK: Dirty politics, but filthy _is_ a better word for it.

FELICIA: Well, that dirty little trick didn't work. It hasn't come up since then.  
(Etta Mae walks up to their table, carrying a folded newspaper)  
ETTA MAE: I couldn't help overhearing, and unfortunately, it _has_ come up again. (unfolds paper, shows Cass item)

CASS: (reading out loud) Which mayoral candidate should we elect, the incumbent, Grant Harrison, who has paid for his crimes

SERGEI: (interjecting)Paid for his crimes, my toe!

FELICIA: My foot.

CASS: (continuing) "or Cass Winthrop, who has a history of mental illness? I don't know about the rest of you, but I personally would not want such a person as either my attorney or my mayor."

LILA: Who wrote that?

CASS: (handing paper back to Etta Mae)It's anonymous.

FELICIA: I wouldn't be surprised if Grant or one of his flunkies wrote it.

LILA: It's too bad we can't expose something about Grant that he would rather keep hidden.

DEREK: Maybe we can. Paulina told me about some of the garbage Grant pulled on her and Joe.

CASS: The problem is, Grant would probably spin it to make himself look good.  
FADE OUT

SCENE THREE  
(The scene shifts to an unnamed luncheonette in Bay City. Donna, Marley, Jamie, Steven and Kirkland are in a booth, eating waffles)  
STEVEN: It's too bad Bridget and Michelle aren't here.

MARLEY: Well, I'm sure they're enjoying themselves at the sleepover.

DONNA:I hope so. After all, it's their first.

MARLEY: And they were so excited about it.

DONNA: So when is the hearing?

JAMIE: Next week, but right now let's just enjoy our breakfast.

KIRKLAND: I want to talk about the hearing.

MARLEY: (pouring syrup on her waffles) Don't worry. Grant won't be able to take you away from Jamie.

JAMIE: That's right. Don't forget, Cass Winthrop is handling the case, and he's the best.

MARLEY: And he'll make a great mayor.

DONNA: _If_ he's elected. You know what Grant is capable of.

MARLEY: Well, I'm definitely voting for Cass, and I know you are, too.

DONNA: Yes, and not just because he isn't Grant.

KIRKLAND: I saw something on the computer that said he was mentally unbalanced.

STEVEN: Just because something is on the computer doesn't mean it's true.

DONNA: That's right. People post rumors and outright lies on the Internet all the time.

MARLEY: Like one about Felicia plagiarizing COUNT ON LOVE from somebody's online journal, or the one about Commissioner Walters having an affair. Of course, those two rumors were retracted later on.

DONNA: But how many people actually saw the retractions?

JAMIE: I'm sure a lot fewer than those who saw the rumors.

STEVEN: (thinks) Maybe I could start a rumor about Grant.  
FADE OUT

SCENE FOUR: CLOSING SCENE  
(The scene shifts to Nick and Remy's apartment. Nick and Remy are on the sofa in the living room, eating waffles.)

REMY: I'd like to get my hands on the creep who put that video of Aunt Sofia online.

NICK: I'll bet your Dad wants to get ahold of him even more.

REMY: Why would anyone want to post that filth, anyway? Aunt Sofia never hurt anyone in her life, Dad once told me. So who would be out to get her?

NICK: Maybe they're not out to get her.

REMY: You mean...?

NICK: (nods grimly) They're probably out to get your Dad.

(They stop talking to concentrate on their waffles)  
REMY: I've been thinking. You know that big wedding Dad wants to give us?

NICK: You want to go ahead with it?

REMY: Yes.

NICK: Then we'll do it.

REMY: And the sooner the better.

NICK: Why the rush?

REMY: Because (pauses a few seconds) I don't know how long it will be before I'd have to _waddle_ down the aisle.

NICK: You mean....?

REMY: (smiling) Yes. I am.  
FREEZE FRAME  



	73. Episode 73

This episode begins about an hour after the previous one ended.  
SCENE ONE  
(The scene is the schoolyard at Bay City Elementary School.  
Dante is walking across the yard. An African-American boy about his age, but a couple of inches taller, comes over to him)  
BOY: Hey, Dante! I thought you got suspended.

DANTE: Hi, Jason. I _was_ suspended, but Mrs. Jordan changed her mind.

JASON: Cool.

DANTE: But she said I have to write a composition about better ways to act when someone says something that makes us mad.

(Bonnie enters the schoolyard and wheels herself up to Dante and Jason)  
DANTE: Hi, Bonnie.

JASON: Hi, Bonnie.

BONNIE: Hi. I'm glad you're back in school, Dante.

DANTE: Me, too.

(Barry walks over)  
BARRY: (sneeringly) So Mrs. Jordan let you come back!

DANTE: That's right.

BARRY: Well, if it were me, I'd rather stay suspended than have a _girl_ stuck up for me.

BONNIE: Yeah, I stuck up for Dante, just like he sticks up for me.

JASON: That's what friends do. They stick up for each other. Maybe you'd know that if you _had_ any friends, Barry.

(Dante and Bonnie nod their heads in agreement. Bell rings)  
DANTE: We'd better get inside.  
FADE OUT

SCENE TWO  
NINETY MINUTES LATER  
(The scene shifts to Joe's office at the 2-3. Joe is inside with Josie, Toni, Adams, Johnson, and Edith)

JOE: We are going to find that pornographer and stop him from hacking into any more websites.

EDITH: Because it's your sister in that pornography?

JOE: That's one reason, but it's mostly because what this creep is doing is illegal, immoral, and just plain sick.

TONI: Just one thing. How do we know that the pornographer and the hacker are the same person?

JOSIE: For that matter, how do we know there's only one hacker? Look how many sites have been invaded.

JOE: Good point.

JOHNSON: But even if there is more than one hacker, they're probably working together.

ADAMS: But what if they're not in Bay City, or even Illinois?

TONI: For all we know, there's a network of hackers working all over the country.

JOE: Another good point.

JOSIE: I'll talk to Gary. Maybe he and Cameron could do their own investigating.

EDITH: What's wrong, Josie? Don't you think we're good enough, smart enough, to find the hackers without any help?

JOE: (a bit sternly) It doesn't matter who finds them. What matters is that they are caught and stopped, and the sooner, the better.  
FADE OUT

SCENE THREE  
A FEW HOURS LATER  
(The scene shifts to Grant's office at City Hall. Grant and Judge O'Malley, and are inside, talking)  
O'MALLEY: Of course, the hearing tomorrow is a mere formality, but we still need to make it look good.

GRANT: Which is why we're going to let Jamie Frame and his attorney, Cass Winthrop, have their say.

O'MALLEY: And which is also why I'm recusing myself.

GRANT: Why is this the first time I'm hearing about this?

O'MALLEY: I only decided yesterday.

GRANT: And the presiding judge will be?

O'MALLEY: An old friend and classmate of mine who recently moved to Bay City.

GRANT: And this old friend has guaranteed the outcome?

O'MALLEY: Yes, he owes me a favor.  
FADE OUT

SCENE FOUR

THAT EVENING  
(The scene shifts to the living room of the Cory-Hutchins mansion. Carl and Rachel are on the sofa, talking.)  
RACHEL: The custody hearing is tomorrow.

CARL: Oh, I'm sure Jamie will win custody of Kirkland.

RACHEL: Still, I wish he had adopted the boys legally, but he never got around to it.

CARL: That happens all too often.

RACHEL: Yes, it does.

CARL: (changing the subject) Rachel, I'm so glad, so thankful, that you've forgiven me.

RACHEL: Perhaps I should have done that much sooner. After all, you were being blackmailed.

CARL: Yes. To think that I, Carl Andrew Hutchins, could be blackmailed.

RACHEL: Well, that's all over. Lydia is gone now.  
FADE OUT

SCENE FIVE  
(The scene shifts to Peggy's bedroom. Peggy is on her bed, talking on her cell phone)  
PEGGY: So you're on the task force Joe set up to find the hacker? That's just too funny! (pause) Yeah, I agree. It works out perfectly for us.(pause)Oh, of course we have to keep it up.(pause) Absolutely. Our main target is still Josie Sinclair.  
FADE OUT

SCENE SIX: CLOSING SCENE  
(The scene shifts to Iris's apartment in Chicago. Iris is on the phone)  
IRIS: No, that's not really a good idea. (Pause) I know, but you'll be better off waiting awhile. (Pause) It's essential that nobody recognizes you. (Pause) Remember the trouble we went through to plant that story, Lydia.  
FREEZE FRAME  



	74. Episode 74

SCENE ONE  
(The scene is Iris's apartment in Chicago. Iris is on the phone)  
IRIS: No, that's not really a good idea. (Pause) I know, but you'll be better off waiting awhile. (Pause) It's essential that nobody recognizes you. (Pause) Remember the trouble we went through to plant that story, Lydia.  
(Screen splits in two. Iris is on the left-hand side, Lydia on the right)

LYDIA: Yes, and I appreciate everything you're doing to help me get Carl back.

IRIS: Please don't take this the wrong way, Lydia.

LYDIA: Take what the wrong way?

IRIS: My primary goal is breaking up Carl and Rachel. How she could ever have put him in Daddy's place, I'll never understand.

LYDIA: And if Carl and I get back together, both of our goals will be reached.

IRIS: Exactly.  
FADE OUT

SCENE TWO  
(The scene shifts to Peggy's bedroom. Peggy is on her bed, talking on the phone)  
PEGGY: Actually, I _am_ more interested in getting back at Josie. Remember, she's the one who posted that rumor about my Dad.(Pause) Maybe we can find something about her past that she'd rather _keep_ in the past. (Pause) Do you know what her name was before she got married? (Pause) Watts. Got it.  
(Screen splits, and we see that Peggy is talking to Edith)  
EDITH: I just thought of someone who'd probably be willing to help us.

PEGGY: Who?

EDITH: I'll have to talk to him first, but believe me, he's also got it in for Josie (pauses for a second) _and_ Joe.

PEGGY: Great! Listen, I have some homework to finish. I'll talk to you tomorrow.  
FADE OUT

SCENE THREE  
THE NEXT MORNING  
(The scene shifts to Grant and Cindy's dining room. Grant and Cindy are eating bacon and scrambled eggs.)  
GRANT: Don't forget, the custody hearing is today.

CINDY: And?

GRANT: And I expect you to be there.

CINDY: Not unless you tell me what Cecile was doing here the other day.

GRANT: I told you, we had business to discuss.

CINDY: Really? What kind of business was it that you couldn't discuss at your office. Remember, City Hall,Mister Mayor?

GRANT: Cecile needed to discuss something with me without any interruptions.

CINDY: Ever hear of telling your staff that you don't want to be disturbed?

GRANT: Cecile didn't want to take any chances. Now look, Cindy. You're my wife, and I need you to trust me.

CINDY: Yes, I'm your wife, and since we got married again, we've made love a grand total of once. _Once_ , Grant! That doesn't make me feel very much like a wife!  
FADE OUT

SCENE FOUR  
TWO HOURS LATER

(The scene shifts to THE JASMINE GARDEN. Two women are seated at a table, eating spareribs and egg rolls and drinking tea.)  
WOMAN # 1: Bonnie Bennet? Isn't she the little girl who was hit by a drunk driver a few months ago?

WOMAN # 2: Yes, and she'll be in a wheelchair for the rest of her life.

WOMAN # 1: That poor little kid.  
(They eat and drink silently, thoughtfully, for a few minutes)

WOMAN # 2:The announcement will be made this Saturday.

WOMAN # 1: Yes, I know. I just hope  
FADE OUT

SCENE FIVE  
(The scene shifts to the squad room at the 2-3. Toni and Josie  
are standing near the coffeepot, drinking coffee and eating powdered donuts.)

JOSIE: You remember Rain Wolfe?

TONI: (nods) The little girl you and Gary wanted to adopt.

JOSIE: Yes. She came into our lives right after I had that miscarriage.

TONI: Damn Chip Rayburn! He's caused us, and Joe so much trouble.  
  
JOSIE: Yeah. No wonder Grant named him as his Deputy Mayor.  
  
TONI: I just hope Cass wins the election. But what were you starting to say about Rain?

JOSIE: I've been thinking about her a lot lately. It's been awhile since I've heard from her or her grandmother.

TONI: Oh, I'm sure they're both fine.  
FADE OUT

SCENE SIX: CLOSING SCENE  
NINETY MINUTES LATER  
(The scene shifts to a courtroom. Jamie, Cass and Grant are inside, facing the judge, a man in his late thirties who is going prematurely bald. Donna and Marley are sitting together. They look rather tense.)  
  
JUDGE: We are here to determine the custody of the minor child, Kirkland Harrison. Now you, Mayor Harrison, are the boy's biological father, is that correct?

GRANT: Yes, Your Honor.

JUDGE: And you are representing yourself in this matter?

GRANT: Who better to speak from the heart?

DONNA: (whispers to Marley) What heart?

JUDGE: And you, Mr. Winthrop, are representing Dr. Frame?

CASS: Yes, Your Honor.

JUDGE: I'll hear your side first, Mr. Winthrop. First of all, what is the relationship between Dr. Frame and the minor. Kirkland  
(The door opens. Steven and Kirkland enter the courtroom)  
FREEZE FRAME


	75. Episode 75

This episode begins where the previous one left off.

SCENE ONE  
(The scene is the courtroom where Kirkland's custody hearing is in progress.  
Steven and Kirkland enter the courtroom. Steven walks to Jamie. Kirkland walks up to Judge )  
JAMIE: (angry whisper) What are you doing here?

STEVEN: I'm sorry, Dad, but Kirkland said if I didn't bring him, he'd come by himself.

JUDGE: What are you doing here, young man?

KIRKLAND: Why shouldn't I be here? I'm the one you're all talking about.

CASS: Kirkland

KIRKLAND: I'm the one whose future you're deciding. Well, don't I get a say in my own life?

CASS: Kirkland

KIRKLAND: It's not like I'm some naive little kid. I know my father did some bad things, but...

STEVEN: (yells) Some bad things? He--

JUDGE: Be quiet, young man. This is a courtroom, not a basketball court.

STEVEN: I'm sorry, Your Honor, but I want my brother to know what kind of a man Grant really is.

GRANT: No, young man, you want him to know your _opinion_ of me.

STEVEN: Not really. I wouldn't use such language in front of him.

KIRKLAND: Will you please let me talk?

GRANT: I, for one, would really like to hear what my son has to say.

JUDGE: Very well. (to Kirkland) You may speak.

KIRKLAND: Thank you, Your Honor. Okay, this is what I want to say. For years, I thought my father was dead. (Looking at Jamie accusingly) You're the one who let me keep thinking that. _You_ burned the letters he sent me! I didn't even know about the letters until my father told me about them.

JUDGE: Hmm. Please go on, young man.

KIRKLAND: And ever since we got back to Bay City, everyone's been  
keeping me away from my father.

GRANT: My son is right. We haven't even been allowed supervised visits.

STEVEN: (sarcastically) I wonder why!

JUDGE: Young man, do not disrupt us again. Is that clear?

STEVEN: Yes, Your Honor.

JUDGE: Good. (to Kirkland) Go on, please.

KIRKLAND: Like I said, I know my father did some bad things, but he never did anything bad to me personally.

JAMIE: Kirkland, it's time you knew something.

JUDGE: Dr. Frame, please don't interrupt.

GRANT: No, I'd like to hear what the good doctor has to say. Let's get all our cards on the table.

JUDGE: Very well. You may proceed, Dr. Frame.

JAMIE: (addressing Kirkland) Son, this may be a bit hard for you to take.

KIRKLAND: I can handle it.

STEVEN: (Thinking:) I hope so.

JAMIE: Kirkland, when you were a baby, Grant shot himself and made it look as if your mother had done it!

KIRKLAND: I don't believe you! You're just making it up, just like you let me think my father was dead.

STEVEN: He did shoot himself, and as for _us_ letting you think he was dead, Grant did that first when he faked his own death.

KIRKLAND: (turning to Grant, shocked) You faked your death? Why?

GRANT: I did it for you, Kirkland.  
  
  
SCENE TWO  
(The scene shifts to the Jasmine Garden. Cecile is at a small table, independently alone, eating moo goo gai pan. Cindy approaches from the left.)  
CINDY: We're going to have a talk/

CECILE: Are we?

CINDY: (sitting down opposite Cecile)You better believe we are!

CECILE: I'm _trying_ to enjoy a meal, if you don't mind.

CINDY: In that case, I'll get right to the point. Stay away from my man!

CECILE: If you care so much about your man, as you call him, why aren't you with him at the custody hearing?

CINDY: I was just on my way, if that's any of your business. And you, (emphasizing the next four words) stay away from him.

CECILE: You already said that.

CINDY: And I'll say it a third time. Stay away from my husband!

CECILE: I'll stay away from Grant when _he_ tells me to, not before. And I seriously doubt that that's going to happen.

CINDY: Excuse me?

CECILE: Although I can't really blame you for wanting Grant all to yourself. He's good, isn't he? I mean, he's _really_ good.

CINDY: Stay away from him, or you're going to be _really_ sorry.

SCENE THREE  
(The scene shifts to Peggy's bedroom. Peggy is talking on her cell phone)  
PEGGY: I've been thinking. (Pause) Those pictures of Sofia Carlino weren't enough. We need something more provocative. (pause) Are you sure your cousin can do that? (Pause) But will it look real? (Pause) Sure, I'd like to put it on the Internet, but what if we got caught? (Pause)You can get him to do that? (Pause) Too bad I won't be able to see it, but that stuff is blocked on my computer. (Pause) My parents, of course!

SCENE FOUR  
(The scene shifts to the courtroom)  
JAMIE: You did it for Kirkland? His mother almost went to prison for attempted murder! How could that in any way benefit Kirkland?

CASS: Good question. Can you, Mayor Harrison, come up with a good, or even slightly plausible, answer?

GRANT: I felt that he would be better off with me.

CASS:(Sarcastically) Oh, of course. A boy is _much_ better off with a father who shoots himself and, years later, fakes his own death, than he is with a devoted mother!

GRANT: His mother's past was hardly saintly.

STEVEN: Don't talk about my Mom's past, Grant! She's not here to defend herself! And now that I think of it, how do I know you didn't have something to do with her death?

JUDGE: Young man, be quiet. Your mother's death has no bearing on today's proceedings.

CASS: Oh, it most certainly does. If she were still alive, we wouldn't be _having_ these proceedings!

KIRKLAND: (to Grant) I'd like to know why you did those things.

GRANT: As I said, it was so that I could get custody of you.

KIRKLAND: But how, if everyone thought you were dead?

GRANT: I had a plan in motion, but unfortunately, it didn't work out.

CASS: Oh, really? And what exactly went wrong?

GRANT: That's irrelevant.

CASS: Is it? Or do you need time to invent?

GRANT: How dare you!

CASS: How dare _you_ pretend you did what you did for Kirkland? Your real purpose was to frame Paulina Carlino for murder.

GRANT: That was merely a means to an end.

CASS: "A means to an end"? Are you telling us that, to use a cliche, the end justifies the means?

GRANT: There is a great deal of truth in that cliche.

JAMIE: Is there? I've always believed that a wrong action is a wrong action no matter what the result.

GRANT: Oh, really? Then how do you justify destroying mail which was not addressed to you?

JAMIE: I did not consider that to be a wrong action. I felt that Kirkland was better off without you in his life. Remember, he was very young when you, ahem, (makes quotation marks with his fingers) _died_.

JUDGE: I've heard enough, andI'm ready to render my decision.

CASS/JAMIE/DONNA/MARLEY/STEVEN: WHAT????  
  


FADE OUT  
SCENE FIVE: CLOSING SCENE  
(The scene shifts to The Jasmine Garden)  
CECILE: Don't threaten me.

CINDY: I'm not threatening you. I'm warning you. Stay away from my man.

CECILE: What makes you so sure he really is _your_ man?

CINDY: Number one, this wedding ring! And number two, and I hate telling you before I tell Grant

CECILE: (interrupting) Hate telling me what?

CINDY: I'm pregnant!

CECILE: (laughs) Ha ha ha ha ha ha ha ha ha!

CINDY: What's so funny, Cecile?

CECILE: Let me put it this way. Grant has been very busy lately.

CINDY: (suspiciously) And what is that supposed to mean?

CECILE: Oh, don't be naive, Cindy. I just wonder whose baby will be born first, yours.... or mine.  
FREEZE FRAME


End file.
